LS9/16 - not the desk for me
in [Live Sound]
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From: Phildo on 16 Nov 2008 23:48 Did a briefcase gig tonight and got to use a Yammy LS9 for the first time. Venue website said an A&H board but when I popped in to the venue the day before to check it out I found out it had been changed out a few months ago for the LS9. I did glance through the manual for 30 minutes but that was literally all the time I had so it was really only a quick flick-through. There were some problems the drum kit so when a useable kit had been found soundchecks were a bit rushed and I let the house engineer take care of most of it since he knew the board. I watched and learned, asked him questions on certain aspects, fiddled with the board between bands and was comfortable enough with it to do the gig. First couple of songs I spent tweaking as what the house guy did EQ-wise was not always to my taste. Having got it sounding much better the band started on the songs that require spot reverbs, tap time delays etc. This is where I really began to hate the board. A lot of the bands I briefcase for like me to fly in spot FX etc such as vocal delays, big reverbs on drum breaks/guitar solos etc. On an analogue board I have access to every aux send on every channel & I usually mark the important knobs with different colour LX tape so I can find them easily. Quite often I will be flying in a big reverb while at the same time bringing the guitar up or putting delay on two backing vocalist while leaving out the lead. These are just examples from the gigs I've done very recently but I will often find myself having to adjust levels etc while flying in FX (an example tonight would be bringing up the drums for a particular fill whilst applying a massive reverb to the snare and toms which needs to be brought back down very quickly afterwards). On a bigger digital board this is not normally a problem as I have all the aux sends available to me on whatever channel I select. If I need to apply the effect to more than one channel I can hopefully set it up in advance and use the aux master send to adjust the level. On the bloody LS9 I had to hit the mix button at which point I lost access to the channel faders. I found myself constantly jumping between pages, easy enough to do but very restricting and certainly not an ideal way of working for what I do. I got through the gig with very few problems but there were certain FX cues I simply couldn't do because of the amount of pages I would have to jump through when all I needed was access to the faders and a couple of aux sends at the same time. I feel the whole way the desk has been configured pretty badly thought out from a live sound point of view, at least as far as an effects heavy show with a lot of the cues being done on-the-fly. There probably is a way to configure it to do roughly what I need but I didn't have time to dig out the manual and work it out plus I'm sure the house engineer would have loved me changing all his settings. I feel that the desk has been designed by engineers who really didn't have a solid grasp of what a live engineer does and it seems to be a real failing in the smaller Yamaha boards. Anyway, the gig went well and I managed to get most of the fx cues happening to a degree but sadly the LS9 will have to be added to the "no" list on the band's tech riders. All in all a very disappointing experience. Phildo
From: George's Pro Sound Company on 16 Nov 2008 23:52 "Phildo" <Phil(a)phildo.net> wrote in message news:zI6Uk.83702$me2.58285(a)newsfe11.ams2... > Did a briefcase gig tonight and got to use a Yammy LS9 for the first time. > Venue website said an A&H board but when I popped in to the venue the day > before to check it out I found out it had been changed out a few months > ago for the LS9. I did glance through the manual for 30 minutes but that > was literally all the time I had so it was really only a quick > flick-through. > > There were some problems the drum kit so when a useable kit had been found > soundchecks were a bit rushed and I let the house engineer take care of > most of it since he knew the board. I watched and learned, asked him > questions on certain aspects, fiddled with the board between bands and was > comfortable enough with it to do the gig. First couple of songs I spent > tweaking as what the house guy did EQ-wise was not always to my taste. > Having got it sounding much better the band started on the songs that > require spot reverbs, tap time delays etc. This is where I really began to > hate the board. > > A lot of the bands I briefcase for like me to fly in spot FX etc such as > vocal delays, big reverbs on drum breaks/guitar solos etc. On an analogue > board I have access to every aux send on every channel & I usually mark > the important knobs with different colour LX tape so I can find them > easily. Quite often I will be flying in a big reverb while at the same > time bringing the guitar up or putting delay on two backing vocalist while > leaving out the lead. These are just examples from the gigs I've done very > recently but I will often find myself having to adjust levels etc while > flying in FX (an example tonight would be bringing up the drums for a > particular fill whilst applying a massive reverb to the snare and toms > which needs to be brought back down very quickly afterwards). On a bigger > digital board this is not normally a problem as I have all the aux sends > available to me on whatever channel I select. If I need to apply the > effect to more than one channel I can hopefully set it up in advance and > use the aux master send to adjust the level. On the bloody LS9 I had to > hit the mix button at which point I lost access to the channel faders. I > found myself constantly jumping between pages, easy enough to do but very > restricting and certainly not an ideal way of working for what I do. I got > through the gig with very few problems but there were certain FX cues I > simply couldn't do because of the amount of pages I would have to jump > through when all I needed was access to the faders and a couple of aux > sends at the same time. I feel the whole way the desk has been configured > pretty badly thought out from a live sound point of view, at least as far > as an effects heavy show with a lot of the cues being done on-the-fly. > There probably is a way to configure it to do roughly what I need but I > didn't have time to dig out the manual and work it out plus I'm sure the > house engineer would have loved me changing all his settings. I feel that > the desk has been designed by engineers who really didn't have a solid > grasp of what a live engineer does and it seems to be a real failing in > the smaller Yamaha boards. > > Anyway, the gig went well and I managed to get most of the fx cues > happening to a degree but sadly the LS9 will have to be added to the "no" > list on the band's tech riders. All in all a very disappointing > experience. > > Phildo Learn the user defined keys function George > >
From: Arny Krueger on 17 Nov 2008 09:40 "Phildo" <Phil(a)phildo.net> wrote in message news:zI6Uk.83702$me2.58285(a)newsfe11.ams2 > Did a briefcase gig tonight and got to use a Yammy LS9 > for the first time. > A lot of the bands I briefcase for like me to fly in spot > FX etc such as vocal delays, big reverbs on drum > breaks/guitar solos etc. On an analogue board I have > access to every aux send on every channel & I usually > mark the important knobs with different colour LX tape so > I can find them easily. Quite often I will be flying in a > big reverb while at the same time bringing the guitar up > or putting delay on two backing vocalist while leaving > out the lead. These are just examples from the gigs I've > done very recently but I will often find myself having to > adjust levels etc while flying in FX (an example tonight > would be bringing up the drums for a particular fill > whilst applying a massive reverb to the snare and toms > which needs to be brought back down very quickly > afterwards). On a bigger digital board this is not > normally a problem as I have all the aux sends available > to me on whatever channel I select. If I need to apply > the effect to more than one channel I can hopefully set > it up in advance and use the aux master send to adjust > the level. On the bloody LS9 I had to hit the mix button > at which point I lost access to the channel faders. I > found myself constantly jumping between pages, easy > enough to do but very restricting and certainly not an > ideal way of working for what I do. I got through the gig > with very few problems but there were certain FX cues I > simply couldn't do because of the amount of pages I would > have to jump through when all I needed was access to the > faders and a couple of aux sends at the same time. I feel > the whole way the desk has been configured pretty badly > thought out from a live sound point of view, at least as > far as an effects heavy show with a lot of the cues being > done on-the-fly. There probably is a way to configure it > to do roughly what I need but I didn't have time to dig > out the manual and work it out plus I'm sure the house > engineer would have loved me changing all his settings. I > feel that the desk has been designed by engineers who > really didn't have a solid grasp of what a live engineer > does and it seems to be a real failing in the smaller > Yamaha boards. Set up a custom layer with your most frequently accessed channels (input or output) on it. Chapter 8 in the LS9 manual.
From: Eeyore on 17 Nov 2008 10:03 Arny Krueger wrote: > "Phildo" <Phil(a)phildo.net> wrote > > > Did a briefcase gig tonight and got to use a Yammy LS9 > > for the first time. > > > A lot of the bands I briefcase for like me to fly in spot > > FX etc such as vocal delays, big reverbs on drum > > breaks/guitar solos etc. On an analogue board I have > > access to every aux send on every channel & I usually > > mark the important knobs with different colour LX tape so > > I can find them easily. Quite often I will be flying in a > > big reverb while at the same time bringing the guitar up > > or putting delay on two backing vocalist while leaving > > out the lead. These are just examples from the gigs I've > > done very recently but I will often find myself having to > > adjust levels etc while flying in FX (an example tonight > > would be bringing up the drums for a particular fill > > whilst applying a massive reverb to the snare and toms > > which needs to be brought back down very quickly > > afterwards). On a bigger digital board this is not > > normally a problem as I have all the aux sends available > > to me on whatever channel I select. If I need to apply > > the effect to more than one channel I can hopefully set > > it up in advance and use the aux master send to adjust > > the level. On the bloody LS9 I had to hit the mix button > > at which point I lost access to the channel faders. I > > found myself constantly jumping between pages, easy > > enough to do but very restricting and certainly not an > > ideal way of working for what I do. I got through the gig > > with very few problems but there were certain FX cues I > > simply couldn't do because of the amount of pages I would > > have to jump through when all I needed was access to the > > faders and a couple of aux sends at the same time. I feel > > the whole way the desk has been configured pretty badly > > thought out from a live sound point of view, at least as > > far as an effects heavy show with a lot of the cues being > > done on-the-fly. There probably is a way to configure it > > to do roughly what I need but I didn't have time to dig > > out the manual and work it out plus I'm sure the house > > engineer would have loved me changing all his settings. I > > feel that the desk has been designed by engineers who > > really didn't have a solid grasp of what a live engineer > > does and it seems to be a real failing in the smaller > > Yamaha boards. > > Set up a custom layer with your most frequently accessed channels (input or > output) on it. > > Chapter 8 in the LS9 manual. Or use an analogue desk. No such problems ! Graham
From: hank alrich on 17 Nov 2008 10:34
George's Pro Sound Company <bmoas(a)yahoo.com> wrote: > "Phildo" <Phil(a)phildo.net> wrote in message > news:zI6Uk.83702$me2.58285(a)newsfe11.ams2... > > Did a briefcase gig tonight and got to use a Yammy LS9 for the first time. > > Venue website said an A&H board but when I popped in to the venue the day > > before to check it out I found out it had been changed out a few months > > ago for the LS9. I did glance through the manual for 30 minutes but that > > was literally all the time I had so it was really only a quick > > flick-through. > > > > There were some problems the drum kit so when a useable kit had been found > > soundchecks were a bit rushed and I let the house engineer take care of > > most of it since he knew the board. I watched and learned, asked him > > questions on certain aspects, fiddled with the board between bands and was > > comfortable enough with it to do the gig. First couple of songs I spent > > tweaking as what the house guy did EQ-wise was not always to my taste. > > Having got it sounding much better the band started on the songs that > > require spot reverbs, tap time delays etc. This is where I really began to > > hate the board. > > > > A lot of the bands I briefcase for like me to fly in spot FX etc such as > > vocal delays, big reverbs on drum breaks/guitar solos etc. On an analogue > > board I have access to every aux send on every channel & I usually mark > > the important knobs with different colour LX tape so I can find them > > easily. Quite often I will be flying in a big reverb while at the same > > time bringing the guitar up or putting delay on two backing vocalist while > > leaving out the lead. These are just examples from the gigs I've done very > > recently but I will often find myself having to adjust levels etc while > > flying in FX (an example tonight would be bringing up the drums for a > > particular fill whilst applying a massive reverb to the snare and toms > > which needs to be brought back down very quickly afterwards). On a bigger > > digital board this is not normally a problem as I have all the aux sends > > available to me on whatever channel I select. If I need to apply the > > effect to more than one channel I can hopefully set it up in advance and > > use the aux master send to adjust the level. On the bloody LS9 I had to > > hit the mix button at which point I lost access to the channel faders. I > > found myself constantly jumping between pages, easy enough to do but very > > restricting and certainly not an ideal way of working for what I do. I got > > through the gig with very few problems but there were certain FX cues I > > simply couldn't do because of the amount of pages I would have to jump > > through when all I needed was access to the faders and a couple of aux > > sends at the same time. I feel the whole way the desk has been configured > > pretty badly thought out from a live sound point of view, at least as far > > as an effects heavy show with a lot of the cues being done on-the-fly. > > There probably is a way to configure it to do roughly what I need but I > > didn't have time to dig out the manual and work it out plus I'm sure the > > house engineer would have loved me changing all his settings. I feel that > > the desk has been designed by engineers who really didn't have a solid > > grasp of what a live engineer does and it seems to be a real failing in > > the smaller Yamaha boards. > > > > Anyway, the gig went well and I managed to get most of the fx cues > > happening to a degree but sadly the LS9 will have to be added to the "no" > > list on the band's tech riders. All in all a very disappointing > > experience. > > > > Phildo > > Learn the user defined keys function Good idea! -- ha shut up and play your guitar |