How do the LS9 STIN Channels Work

[Kellie]

Hi Everyone, The LS9 manual is not very clear, so before I goofed something up I though I would ask the experts. We have a new system we are building with a LS9-32. There are a number of stereo feeds, such as CD, DV iPod and Computer playback that I would like to have easy access to and just control their respecive volume levels to the LCR channels via the 4 controls on the upper right side of the console. Each of the above stereo feeds will plug into an omni input "one for L & R". How do I get them mapped to these 4 stereo level controls STIN1-4 and once there, I assume I can add them to the mix that is going to be sent to the LCR channel.

Thank you for a step by step answer, especially during the busy Christmas holidays.

Kellie

[Tim Padrick]

There are no "omni inputs". There are the 32 XLR inputs, and any inputs that you may have on an expansion card. If you don't have a card, you just use the XLR inputs as you would for any other source. If you have an expansion card, IIRC you just go to the patch editor and patch the appropriate card inputs to the Stereo Ins. But then you'll have to use channels to return your FX.

[ntravis]

As stated above, without an expansion card, you would simply use any number of the available 32 XLR inputs on the rear of the console for your L and R inputs for each source. If you have the Studio Manager installed on a computer connected to the mixer, I would highly recommend using the Patch Editor window in the program for this next step. If not, proceed as follows. Select the ST channel you would like to assign inputs to using the SEL button for that channel. Next use the black directional arrow buttons to move the cursor (yellow box) on the screen to the HA section of the HOME (default) channel window. Press enter once the cursor is on HA to open the HA/PATCH popup window. Next move the cursor to the gray box located right above the 48V phantom power box for the desired channel and press enter. In the next window, navigate to the physical input number that you would like to use as the input source for the ST channel you are patching, and press enter. EX. If you plugged CD L into IN 1, then select ST IN L as your desired channel, and select IN 1 as the input channel to patch to it. Reference page 99 of the user manual for further assistance.

[daver2]

As Tim has already said - you have 32 (LS9-32) or 16 (LS9-16) XLR inputs which you can patch (by means of the input patch routing) to either an input channel or to the STEREO INPUTS (i.e. there is no difference between configuring a physical input for an INPUT STRIP or a physical input for the STEREO INPUT STRIPS). There is also a 2TRACK coaxial input which can be dedicated to a stereo audio source if you have such an output on one of your audio devices.

I second ntravis in the use of Studio Manager for input and output patching. It is much more intuitive for beginners than using the LS9 itself.

Dave

[Kellie]

Gentlemen, you all have been very helpful to me and also so responsive. Do you get paid for this top notch service or are you genuine good hearted people that like to help out others. I thank you so much for your direction and advice.

Kellie

[daver2]

Hi Kellie,

Pay - What's that?!

I hope I help some people out with their questions - and in the process I learn a lot from reading posts made by others. Let's all learn together...

We get paid enough when you click on the "thanks" icon in the lower right-hand corner of the post - if we have been of any help of course!

Dave

PS: A Merry Christmas to everyone on CMN.

[Tim Padrick]

"He who teaches, learns."

Passing on what one learns is just the right thing to do. Sometimes one gets paid, sometimes one does it pro bono.

[pdc]

People....I see so many church laymen here asking questions and trying to do things that should be taught and/or provided for them by a local dealer, rep. This is why I do not push my company an it's services. I have been on both sides of it. First, ministry, then production and service provider. I do not help some of my childhood friends/pastors, because they need someone close by to provide full training, support, service, the occasional loaner, etc. You guys trying to do stuff on your own is fine to a point, for some things, but you really need to find a local buddy for the rest.

I say all of that to say this:

For the last two years we have provided services to more than a few churches, that traditionally cut corners to save a buck. They have a bunch of components, and no well engineered systems. They have to push lots of buttons on lots of gear to things. The quality is not good at all. If one or two people don't show up, nobody knows how to do anything, because it is so "un-professional" and complicated. Sometimes we have to spend an hour to try to figure out why things are the way they are, just to get started on the call. They have spent more in time and resources going around the block than taking a straight path.

Some of you may be geographically orphaned from a good provider. Most of you are not. Just because you do not know of a provider does not mean there is not one there with a presence. There are large companies with satellite offices all over the USA.

This is a bitter pill, but Christian companies may not be the best companies. Christianity does not impart the necessary business acumen and technical ability required to do what you need. If you find a company that has everything you need, and is a believer-owned, operated, servicing company, then fine. They are not the norm.

This is what I tell my ministry buddies:
1. Only do business with people who are insured and licensed to operate. You do not want to pay for employee injuries on your property and you want them to pay if they drop a speaker array on your head.
2. Use a bonded company for your high-value projects. If they burn it down, make them pay to rebuild it.
3. Make sure the companies conduct background checks on their employees. In this day and age, you cannot be too careful around youth and children that might be in the building.
4. Use Google or 411 to access your state's fire and building code enforcement officials. Double check your proposals with an official. Double check to make sure your contractor is not hanging things too close to sprinkler heads, exit signs, alarm triggers, is breaching firewalls, etc, etc. This crazy stuff will null your church's insurance policies.
5. Call the structural engineer or provide the structural as-built drawings to the contractor, so they know how or how not to load the roof. (We did a job in a church that somehow built a building that was not load rated for snow...in OKLAHOMA, where it snows! Hanging from the structure was not an option.)
6. Call references, call references, call references. If what you are doing is beyond the scope of their average job, then pass. If they do not do much video, and you need video, get someone who does mostly video. You get the idea.
6.

[STEALMYBUCKS]

We use the Pro AV1 from Radial for all of our "Stereo" inputs, since we run a mono system on our LS9 it makes sense for us. I know they cost about $100 or so, but they are well worth it IMO, as I have never had an issue with a Radial DI. If you want to use 4 devices in Stereo, you will eat up 8 inputs, that may work for you now, but please also consider future expansion. We recently upgraded our Drum Mics to the Audix DP7 kit, which added 2 more mic inputs (2nd OH and a 3rd Tom). We now only have 4 input channels open.

Also, the digital input on the back of the LS9 is only digital. It will not accept an analog RCA input. This is an issue when Word Clock comes into play. Most CD players have digital output, but only operate at 44.1 khz. So your whole system will need to be Word Clock at 44.1. This isn't an issue unless you run an expansion card, as I run an Audinate Dante card, which only operates at 48 khz.

Also, get an iPad, it is well worth the investment! LS9 Stage Mix is great!

[thewattsranch]

Could someone explain LS9 mixes vs matrix's? I've been tasked to help with setting the board up and need assistance to translate in my head analog to digital in this regard. Also, someone with an LS9, how do you have your channels set up?

Thanks in advance
Jeff

[Tim Padrick]

Matrices are generally the same whether the console is analog or digital. They are usually used as additional outputs that feed front fills, under balcony fills, additional rooms, assisted listening systems, and the video guy. They can be fed by the main or group buses. For instance for an additional room you might want the main mix. For a front fill you might want the vocals and any instruments that are not going through stage amps. For assisted listening, you might want everything but not with the same mix as the main mix.

To see how we use our console, download my file and examine it in Studio Manager: http://www.padrick.net/LiveSound/Yam...onsoleFile.htm

[Arlin]

The best description I have found for Mix vs Matrix is that a Matrix is like a Mix, but Mixes are for inputs & Matrices are for outputs.

So, inputs feed Mixes & LRM (or LRC)... (LRM/C is really just a special Mix.
Mixes (including LRM/C) feed Matrices.

Note: The M7CL(and probably the new CL series) breaks this rule by allowing input channels to be routed directly to a Matrix.

As for how I set-up our LS9, you can find more on that here: Yamaha LS9 Question

The only thing I use a Matrix for is to provide a mono mix of our stereo recorded mix to the 70V system that provides sound outside the worship area (kitchen, nursery, entry area, etc.).