Finnkino
Yamaha power amplifiers XP5000 and P7000S
“All our amplifiers are in bi-amp tri-amp mode and feature active digital crossovers. The sound quality is superb and they are utterly noiseless. The design is excellent, they are very well built and offer superb quality and power for the cost. But it’s also very important that the reliability of the amplifiers is fantastic. We have never had a single failure in any of our installations.”
Cinema designer, DTS Europe
DME64, Yamaha power amplifiers
"I am very proud of the end result in the DTS Theatre. The audio quality is excellent and several audio engineers have commented on it very positively. We applied some ground breaking technologies in this room, which were only possible thanks to the DME's, the Yamaha amps and the Procella Audio speaker system."
Sound designer/ Audio programmer, Costa Entertainment
PM1D
“We try to automate all the mechanical operations that are frequently repeated, with the recall of scene snapshots, the control of the surround system and effects, etc. - for example, a really simple thing like muting microphones ‘under’ time code, to avoid human errors and give the sound engineer the possibility of concentrating on the actual sound and the equalization. This is one of the reasons why we decided to cross over into the digital domain, with the installation of a Yamaha PM1D system.”
“It’s intuitive and it wasn’t very complicated to program. One of the
functions I used a lot was Selective Recall, and I also decided to exploit
all the MIDI Out programming possibilities of the system. Another very nice
feature is being able to assign all the parameters of the effects to the
‘rotary encoders’ in the centre of the control surface, to have some
‘physical’ controls, instead of using the screen or mouse and keyboard -
the same also goes for the graphic equalizers, which can be inserted in the
various zones. In the theatre, there are a lot of zones controlled by
matrices and, with an impressive amount of power at our disposal -
something like 120,000 Watts in class C - a graphic equalizer is extremely
useful and, there again, you insert it, assign it and the DCA faders can be
used as the graphic EQ controls.”
AV department, La Scala Theatre
PM1D, DM2000
“… in certain operas there are a lot of sound effects - for example, a recent production of “Idomenea”, had wind, thunder, off-stage voices and the sound of bells ringing, so the PM1D is extremely useful for this purpose, and we were able to program it to meet all our requirements - nowadays, having the system’s memories at our disposal, we are totally independent from that point of view.”
“The system is already showing its worth, as it enables us to store all the parameters of each opera’s scenes and recall them whenever we want - a priceless feature with the busy program of shows being staged and others being rehearsed, typical of La Scala’s work schedule.”
Monitor engineer, The Beautiful South ‘Superbi Tour
M7CL
"I've mixed many bands on all sorts of desks, and it seemed to me that the M7CL was the most practical desk for anyone going digital. It's got 48 motorized faders - so no flipping between 1–8 and 9-16 or 1–24 and 25–48 or whatever. I've got everything in front of me, and with the touchscreen, it's so immediate.”
"There are some things that I can do on the M7CL that can't be done on certain other - much more expensive - digital desks, like copying a graphic, for instance. I’ve got twenty-four wedges that are all the same, so I dial in a curve to use as a starting point and just copy that to all my outputs."
"I found I got more headroom out of the wedges, everything sounded a lot cleaner than analogue - much better intelligibility at the high end; clearer and crisper. And there was another fantastic feature on the M7CL that I’d tried before with analogue and never really achieved. I used the output delays to time-align the centre wedges with the side fill, and I found that, at most venues that cleared a lot of low-mid build-up; it just brought everything together in one space.”
Technical Manager (Actes), “Âge tendre et tête de bois” tour
M7CL
“A few years ago, I would have been forced to turn down this specification. But the arrival of both the Yamaha M7CL console, compact, light and powerful at the same time, with all its built in processing, and the Ethersound solutions made me rethink my choice. It was a sizeable investment, but it was the only way: either that or the Tour did not take place! Fortunately we were able to rely on the support of Yamaha and of Auvitran.. We have now completed over 50 concerts, and we haven’t had a system crash yet. We are pioneers: an all digital /all Ethersound configurations on a national Tour of this scope, it had never been done before!”
