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Anywhere You Need Advanced Live Sound Support The surprisingly small size and lightweight of the LS9-16 make it a perfect choice for applications that require maximum portability and handling ease. Use it for events or temporary live sound setups, and benefit from the power and performance of much larger and more complex systems in an eminently portable package that can be set up and operated anywhere with ease.
High Input Capacity and a Generous Bus Structure for Serious Live Sound With 32 input head amps the LS9-32 can comfortably handle the complex and varied source requirements presented by a wide range of live sound applications, but it's always reassuring to know that you can expand it up to 64 channels by just adding external preamps and Mini-YGDAI interface cards for those extra demanding line-ups. Whether used in an installation or on the road, the LS9-32 will deliver the performance and versatility of large-scale systems in dramatically less space, with less hassle, and significantly lower overall cost.
16 or 32 top-performance recallable head amplifiers deliver microphone and line sources with extraordinary presence and realism.
An additional 16 or 32 channels of processing power ready to receive audio via the Mini-YGDAI expansion slots, providing a total of 32 or 64 channels!
An extensive range of channel functions accessible via Yamaha's acclaimed Selected Channel interface.
Versatile bus architecture with comprehensive digital patching capability: 16 mix buses, 8 matrix buses, and a stereo and mono bus that can be used in LCR mode.
Virtual GEQ and effect rack offers easy access to built-in graphic equalization and effects that would fill a full-size rack or two if similar analog gear were used.
Built-in USB Memory Recorder/Player eliminates the need for an external device for simple off-board recording, and can supply background music and sound effects as required.
Digital mixing and processing for live sound has come of age, and there's no turning back. Throughout the audio industry the most demanding sound engineers and audio company professionals are turning to digital mixing as a way of enhancing quality, efficiency and commercial advantage. If you're planning to upgrade a small or medium-scale analog system, there are plenty of great reasons to go digital. The Yamaha LS9-16 and LS9-32 are two very good reasons indeed. They offer the most up-to-date and mature digital mixing capabilities in their class, with an interface that makes operation easy even for the inveterate analog user. They do it in consoles that are remarkably compact and lightweight, even the LS9-32 can be tucked under an arm and moved around quite comfortably. Just try doing that with a 32 channel analog console and the racks of outboard gear that would be required to equal the functionality of these digital mixers. Both LS9-16 and LS9-32 can grow with your needs too; they have a second layer of channel processing power that lets you control up to another 16 or 32 channels of audio inputs from digital sources and/or analog sources with no compromises on features or quality. And then there's the sound. From the acclaimed PM1D digital live sound console right down the line, superlative sound is another reason discerning professionals choose Yamaha Digital Mixing Consoles for critical live sound applications around the globe.
The LS9-16 and LS9-32 make immense digital processing power and control flexibility available via an interface that will quickly become comfortable and convenient for the first-time user. Anyone who has ever used a Yamaha digital console before will feel right at home. Fader levels are directly controlled via precision 100-millimeter motor faders for instant hands-on access. Corresponding illuminated switches are provided for channel on/off switching and cueing, and independent LED level meters let you keep an eye on channel signal levels. Yamaha's acclaimed Selected Channel interface provides efficient access to other channel functions via an ingenious integration of physical controllers and a large color LCD panel. Deeper functions and system settings can be efficiently accessed via the console's "Display Access" keys and programmed via the LCD display and data entry controls. A "Home" key brings you right back to the main operating mode no matter where you are, so you need never be lost in menus.
One of the reasons the LS9 consoles are so compact ? and another reason you'll want to go digital ? is that a total of 17 physical faders on the LS9-16, or a total of 33 on the LS9-32, give you fast, easy access to all input channel, mix bus, matrix, and master levels. On both consoles the input channels are available in two fully patchable layers: 1
This paper provides an in-depth investigation into the application of Communicative Language Teaching (CLT) in English as a Foreign Language (EFL) context in Asia, and China in particular. It reveals that CLT has not been fully acknowledged and espoused by Asia’s English language educators at the classroom level. Additionally, it unpacks the various factors that have impeded educators in Asia from enacting CLT. Through introducing the concepts of “teacher as curriculum implementer” and “teacher as curriculum maker,” it brings to surface why a mandated curriculum change as CLT cannot be realized in EFL context in Asia. The paper argues that teachers should be constructors rather than merely receivers of the imposed pedagogical reforms. The top-down educational enterprise of implementing CLT cannot succeed unless it is embraced by teachers with their reconfigurations in light of their specific teaching situations.