Lighting Sound America Yamaha RIVAGE PM10 Digital Mixing … · 2016. 4. 13. · Series consoles....

76 • April 2016 • Lighting&Sound America

TECHNICAL FOCUS: FIRST LOOK

It is often overlooked that YamahaCorporation has been building mixingconsoles for more than 40 years, dur-ing which the PM, TF, QL, and CLSeries designs have come to be rec-ognized as benchmarks throughoutthe live-performance industry. Notbeing a brand to rest on its laurels, lastyear the firm unveiled a remarkableinnovation aimed at extending its hard-earned reputation for carefully craftedofferings that combine state-of-the-arttechnologies with new user interfaces.After all, the well-regarded YamahaPM1D and PM5D digital consoles arenow more than a decade old, a periodthat has seen major changes in thelive-performance marketplace.

The new RIVAGE PM10 digital mix-ing console, which made its NorthAmerican debut at InfoComm lastJune, is described as taking the bestof the current PM Series with addeduser features and enhanced technicalperformance. The PM10 comprisesthe CS-R10 control surface, DSP-R10DSP engine, and RPio622 I/O Rack.For added flexibility, three types of RYinterface cards and two types of HYinterface cards can be added to con-figure an I/O topology of mixed analogand digital ports that precisely matchthe scale and functional requirementsof any application.

Newly developed hybrid micro-phone preamplifiers for the PM10’sanalog section are said to provide apure, natural sound. Using a propri-etary Virtual Circuitry Modeling (VCM)technology, these key channel ele-ments use DSP to model and combineYamaha’s characteristic analog micpreamp with Rupert Neve Designs’transformer circuits and SILK process-ing for added “depth, space, and air.”

Silk processing is provided as stan-dard on suitably equipped RY-formatanalog input cards as well as the Omniinputs situated on the console’s rearpanel. Based on the natural compres-sion and saturation of audio transform-ers—a subject about which Neve issaid to be especially passionate—Silkprocessing features selectable red andblue modes, with a continuously vari-

able texture control that enables signalprocessing at the input stage, a capa-bility that adds—as Yamaha puts it—“musical sparkle or power asrequired.”

The familiar PM Series channelequalization and dynamics functionshave been enhanced with three extraDSP algorithms or EQ types, in addi-tion to legacy functions. A new “pre-

Yamaha RIVAGE PM10Digital Mixing ConsoleBy: Mel Lambert

CS-R10 control surface, front view.

The Yamaha RIVAGE PM10 comprises the CS-R10 control surface, DSP-R10 DSP engineand RPio622 I/O rack. For added flexibility, three types of RY interface cards and twotypes of HY interface cards can be added to configure an I/O topology of mixed analogand digital ports.

Copyright Lighting&Sound America April 2016 http://www.lightingandsoundamerica.com/LSA.html

www.lightingandsoundamerica.com • April 2016 • 77

cise” algorithm adds Q/bandwidthparameters on the low- and high-fre-quency shelving sections that enableuser control of filter overshoot foradditional musical “impact.” A new“aggressive” algorithm is said to pro-vide an enhanced musical response,while the new “smooth” algorithm isdescribed as offering “smooth, naturalcontrol while retaining the fundamentalcharacter of the source.” Two dynam-ics stages are provided, each of whichcan be set under user control as agate, compressor, ducker, or de-esser.The “legacy comp” compressor fea-tures parameters found on currentYamaha digital consoles, while Comp260 is a VCM-enabled model of thepopular mid-‘70s dbx Model 260 ana-log dynamics unit; it is the defaultcompressor on every channel withoututilizing extra DSP.

The DSP engine can be set by theuser to run at 44.1kHz, 48kHz,88.2kHz, or 96kHz sample frequen-cies, to provide a maximum mixingcapacity of 144 input channels, 72 mixbusses, and 36 matrix busses, plustwo stereo busses—A and B—(ormono versions), Cue A and B, andMonitor A and B. In addition to the on-board EQ and dynamics processingfunctions, the PM10 ships with a totalof 45 plug-ins, including new app ele-ments that were developed in collabo-ration with leading manufacturers.Liaison with Rupert Neve Designsresulted in Rupert EQ 773, RupertComp 754, Rupert EQ 810, andRupert Comp 830 plug-ins, whichcomprises VCM-enabled models of‘70s and ‘80s outboards. An alliancewith TC Electronic resulted in two newreverb plug-ins: VSS4HD room simula-tion, which offers several reflectionsettings, and NON LIN2, which canfunction as an envelope-filtered gatereverb without the need for an externaltrigger. Cooperation with Eventide hasproduced the H3000-LIVE harmonizer,a reproduction of the famous H3000Ultra Harmonizer algorithm, coupledwith a new interface streamlined forlive-sound applications.

CS-R10 control surface Like previous Yamaha offerings, theCS-R10 control surface features thefamiliar “selected channel” section,which enables all parameters to becontrolled simultaneously from a cen-tral position. Two large 15" LCD touch-sensitive screens provide full channel-strip continuity with horseshoe-ringencoder/parameter displays and level-control faders in 12-channel sections,a layout that matches the Centralogicinterface utilized in Yamaha’s CLSeries consoles. The touch-based

Centralogic interface is said to simplifydigital operation to the point whereease of user operation matches that ofanalog consoles. The total on-surfacefader count is 38: three bays, or sec-tions, with 12 faders per section plustwo masters. The custom fader bankscomprise 6 x 2 on each bay, with atotal of 48 user-defined keys (12 x 4banks) and 16 user-defined knobs (4 x4 banks).

All mix controls provided for eachchannel—aside from the individualmotorized faders—can be accessed

BROADCAST LIGHTING

SET LIGHTING EVENT LIGHTINGLOCATION LIGHTING



via the two display screens using the“overview” or “selected channel” func-tion, which serves as the console’sdefault display modes. A standardview of the targeted 12 channels canbe selected via navigation keys, which,for added convenience, are laid out ina replica of the console’s 12-channelgroups and bring to the surface thosecontrols via one button-press foradjustment via the correspondingmulti-function encoders immediatelybelow the display screen. Havingpressed the channel’s SEL button, the

user simply presses and then rotatesthe console’s physical PAN control toadjust the left/center/right channelpanning; the same applies to preampgain, dynamics, high-pass filter, EQ,and bus-send level control. Eachadjustment is shown clearly on thecorresponding parameter display asthey are being made, together with thestatus of all mix parameters for a cur-rently selected channel. For enhancedcontrol, the user can also zoom in onany of the on-screen parameters bysimply touching the screen; the multi-

function encoders below the displayscreen automatically follow the corre-sponding on-screen parameter dis-plays.

Each full-function signal path/inputchannel features an A/B source select,gain adjust, digital gain trim, high-passfilter, low-pass filter, four-band para-metric EQ two dynamics functions,channel delay, two insert points withfour plug-ins on each insert, and directout. A built-in MS (mid/side) decoderis provided for adjacent odd- andeven-numbered channels. Each outputchannel includes a separate high-passfilter, low-pass filter, eight-band para-metric EQ, dynamics section, delay(on channel path and output port), andtwo insert points with four plug-ins oneach insert. The PM10 offers a total of384 plug-in slots that can be freelyassigned across any of the preconfig-ured and fully virtual signal paths; themaximum number of plug-ins availablesimultaneously at any one time varieson the type of plug-in assigned, sincesome require more processing func-tionality—reverbs being one exam-ple—than others.

Various types of graphical equaliza-tion (GEQ) and parametric equalization(PEQ) are available at programmableinset points, comprising forty-eight 31-band GEQ, 96 Flex15 GEQ, and 96eight-band PEQ, with user-selectablegain ranges of ±15dB, ±12dB, and±6dB (boost/cut) or -24dB (cut-only). AGEQ section can also be configuredas a 121-band, 1/12 octave real-timespectrum analyzer.

Within the four-band parametric EQsettings, the user can select one offour equalization types: precise,aggressive, smooth, or legacy, withswitchable A/B parameter settings.The frequency values for each bandcan be set in 1/12 octave steps or, formore precise adjustment, in 1/24steps. The low and high bands canalso be switched to shelving mode.The default precise EQ mode “strivesfor ultimate precision and controllabili-ty,” and enables users to zero in on

Lamps & LED’s: Archipelago, Bulbrite, Cree, Feit Electric, GE, Green Creative, Halco, Ledtronics, Lighting Science Group, Osram, Sylvania, Philips, Satco, Soraa, TCP, Ushio and many more

Tape: 3M, ProTape, Shuretape

Gel: Apollo, Lee Filters, Rosco GAM

Accessories: City Theatrical, TMB, Littlite, Chimera

Batteries: Duracell, Energizer, Rayovac, Yuasa, Rhino, Panasonic

Electrical: Marinco Power Products, Bates, Hubbell, Leviton, LEX Products, Union connector

Fixtures: 0Energy, Altman, American DJ, Apollo, Arri, Desisti, Elation, ETC, Kino Flo, Lowel, Rosco, Osram, Philips, Chauvet, Lycian

LampsMoving Light Lamps, Theatrical Lamps, LCD/DLP Projection, TV & Film Lamps

BatteriesAA, AAA, C, D, 9V, Alkaline, Lithium,

Rechargeable

Expendables

& Tie Line

Gobos

Gobos

A Complete Line of Lamps & Production Expendables for: Film, Video, Television, Theatre, Concert, Nightclub,

Themed EntertainmentColor Filters

Panels

Electrical Supplies

Assemblies

Lighting Fixtures

Lighting Fixtures

contact us: [email protected]

Distribution Centers in: New York, Florida,Nevada, California

www.bulbtronics.com 1-800-227-2852


adjustment points, with low/highshelving filters that feature a useful “Q”or bandwidth parameter to adjust kneecharacteristics. Aggressive EQ isdescribed as musical and effective, foradding “a powerful, creative edge” forartistic expression. Smooth EQ focus-es on smooth sound qualities, Yamahaclaims, and “contributes to a naturalsound without changing the atmos-phere of the original.” Legacy EQ isthe standard equalization type provid-ed on the firm’s digital mixers sincethe PM1D and PM5D models. Theprecise and legacy equalizers provideconstant-Q EQ, while the aggressiveand smooth feature proportional-Qprocessing.

Two dynamics processor modulesare provided per input, and can beassigned to one of six functions,including gate, de-esser, expander,ducker, and compressor. LEGACYCOMP is the standard compressorthat has been provided on the firm’sdigital mixers since the PM1D andPM5D, while COMP 260 is describedas an “analog-flavored compressor”that uses Yamaha’s proprietary VCMtechnology to emulate the sound char-acteristics of mid-1970s compressorsand limiters. This compressor is saidto faithfully model the classic voltage-controlled amplifier/VCA circuit androot mean square/RMS detection cir-cuit. Compression curve or knee canbe set to hard, medium, or soft.Although attack and release times alsocan be adjusted, the preset settingsare said to reproduce the fixedresponse of the original units beingmodeled for live-sound reinforcement.

A very useful gain-compensationfunction has been included in thePM10. While analog gain of the I/Omodules can be controlled by the con-trol surface’s gain control, normallythis will also change the input level toDSP engines or recording devices thatshare the same input. But if gain com-pensation is used to maintain levelswithin the I/O rack, the signal output tothe audio network can be kept con-

stant. In other words, raising/loweringanalog gain causes the compensationgain within the I/O rack todecrease/increase. And because themix-input level can be modified usinga digital gain function within the DSPengine, levels can be optimized forvarious signal paths to match the spe-cific application. Even if, for whateverreason, gain-compensation mode isturned off, analog-gain and compen-sation-gain parameters will reset totheir original settings when compensa-tion is re-initiated. In this way, signal

levels output to the user-configuredaudio network will remain unchanged,and analog gain can be adjusted foroptimal signal-to-noise ratio with digi-tal gain being used to independentlyadjust input levels.

Any input signal can be routed to atotal of 72 mix busses as well as directsends to 36 matrix busses, for a totalassignment of 108 summing outputs.Send points can be selected pre-filter,pre-EQ, pre-dynamics, and/or pre-fader, or post-EQ and post-fader on aper-channel or per-bus basis; a useful



“pan link” function enables the signalbeing sent from an input channel tothe mix/matrix busses to follow thestereo send pan, regardless of thesend point.

A total of 1,000 user-programmablescene memories is available, eachcapable of holding a complete snap-shot of every programmable control-surface switch, knob, and fader.Individual snapshot modes comprise:“recall safe,” to retain current settings;“focus recall” to a target section; “fadetime,” for transitions or crossfades

from one snapshot to another; “pre-view,” for rehearsing settings; “overlayfilter,” to map only targeted functionsto key sections; and “isolate,” to holdback settings when implementing achange of snapshot.

New features extend the usefulnessof scene memory. Isolate lets theoperator specify which channel-mod-ule settings—including EQ anddynamics libraries, etc.—will be pro-tected from recall operations withoutupsetting Recall Safe settings; this is aparticularly useful feature where a

scene memory is in high use. To applytemporary offsets to fader andmix/matrix send levels independentlyfrom scene recall, the overlay filtermode can be superimposed on a cur-rent mix—a valuable function wherethe user needs to access instantchanges with the ability to quicklyrevert to the original console settings.A total of 24 programmable DCAgroups are available, together with 12fully programmable mute groups.

In addition to a pair of touch andturn knobs, the CS-R10 control sur-face usefully features eight analoginputs and eight outputs for localaudio sources—maybe a CD player—and monitoring, in addition to a pair ofMY-format slots that can accommo-date a range of I/O modules in differ-ent formats, a pair of AES/EBU-formatdigital I/Os (four-in/four-out, with sam-ple rate conversion per source or des-tination), eight GPI I/Os, and wordclock out plus MIDI in/out. A total offive USB ports handle peripheral con-nections, including two-track 96kHzWav-format recording with sample rateconversion. Power conditioning is via abuilt-in, dual-redundant PSU. The unitmeasures 61.0" by 16.4" by 33.4" (W xH x D), and weighs 187lb.

TWINLANe ring network As with the majority of current-genera-tion assignable digital consoles, verylittle audio flows within the control sur-face—aside from onboard I/O cards, atalkback mic, and headphone output.Instead, user commands are extractedfrom buttons, rotary controls, andfaders, with corresponding displays,and are sent to a separate DSP rackthat houses the digital signal process-ing elements that create cross connec-tions between input and output portsvia user-controlled DPS pathways.

The PM10’s CS-R10 control surfaceconnects to the DSP-R10 DSP engine,which handles all mixing, plug-in, andaudio processing via a dedicatedCAT5e-based network, while the DSPengine links to RPio622 I/O racks viaDesigned as a cable replacement system, XIRIUM PRO delivers studio quality audio with

extremely low latency. XIRIUM PRO offers tremendous versatility, ease of operation, FCC license-free audio that is ideally suited to a myriad of live sound applications.

ELIMINATE

CABLES

PURESOUN

D

KEEP

www.xirium.us


Yamaha’s newly developed TWINLANering network via multi-mode fiber-opticcables. The use of simple-ring net-works provides built-in redundancyand enhanced system reliability.Yamaha’s proprietary 32-bitTWINLANe protocol can accommo-date a low-latency transfer of up to400 simultaneous digital signals at asample rate of 44.1kHz, 48, 88.2kHz,or 96kHz over distances up to 900';for larger topologies, a pair of DSP-R10 engines and up to eight RPio622I/O racks can be interconnected withina single ring topology using NeutrikopticalCON DUO multi-mode fiberoptic cables. Input signals also can beshared between multiple DSP engines;a ring topology provides redundancythat keeps the network running even inthe rare event of a cable failure.Quoted network latency is 11 samplesat a 44.1kHz sampling frequency(0.25mS), down to 12 samples at a96kHz sampling frequency (0.13 mS).

The DSP engine provides four HY-format and two MY-format card slots,as well as control I/O, including wordclock in/out, MIDI in/out, time code in,and GPI ports plus remote control andfault output. Like other primary systemcomponents, the engine features tworedundant power supply units.

For analog and AES/EBU digitalaudio I/O, the RPio622 I/O rack willaccommodate a total of six RY-formatinterface cards, two MY-format cards,and two HY-format cards, with theTWINLANe network card installed inHY card slot #1. Two power supplyunits are featured, thereby providingredundant power. Three types of RY-format 16-channel I/O cards are avail-able to match user requirements.

The RY16-ML-SILK 16-channelmic/line analog input card incorporatesa newly developed mic preamp andRupert Neve Designs’ Silk processingmodeled within the digital domain,using Yamaha’s proprietary VCM tech-nology, which is said to faithfully repli-cate the processing built into severalhigh-end RND-developed audio

devices. Based on the “natural com-pression and saturation of audio trans-formers, a matter about which RupertNeve is especially passionate,” userscan choose one of two characteristics,blue or red, with a continuously vari-able texture control that affects thetone and accompanying overtones toadd “power” and “brilliance,” and“recover the sense of air that tends tobe lost in the mix.”

The red Silk circuit is described asreducing negative feedback on theDSP-generated output transformer,

adding harmonic content as the tex-ture is increased. The setting is said toaccentuate saturation in the mid andhigh frequencies; changing the texturecontrol adds or reduces the amount ofcoloration/distortion. Magic indeed.

The RY16-DA 16-channel analogoutput card features level-settingswitches on each channel for +15,+18, and +24dBu interfaces, while theRY16-AE 16-channel AES/EBU-formatI/O card features sample rate convert-ers on all ins and outs.

The HY256-TL TWINLANe interface



card supports 256-in/256-out of Yamaha’s proprietary trans-fer-network protocol via multi-mode optical fiber cables(50/125µm) such as Neutrik’s opticalCON DUO that handletransmissions between devices up to 900' apart; a ring

topology ensures network redundancy. The HY144-DAudinate Dante interface card transfers up to 144 channelsof audio signals at a sampling frequency of 96kHz; trans-mission up to 300' is possible using 1Gbit CAT5e/CAT6Ethernet cable.

For multi-track recording, an external computer can alsobe connected to the PM10; the PC also provides access toYamaha’s NUAGE Advanced Production System, as well asplug-and-play connectivity with Yamaha CL and QL Seriesconsoles, plus other external units via Audinate Dante net-works. Designed for simple connection with a wide range ofpro-audio devices, Dante is said to work well alongsideTWINLANe networks; Dante also offers additional flexibilityand system reliability, in addition to multitrack record-ing/playback via the new high-capacity HY144-D card.Virtual sound checks also are a breeze via the HY144-Dcard, since all inputs to the console can be routed at thepush of a button from the touch screen. An alternate way torecord is to use the “split out” feature, whereby an HY144-Dcard in slot 2 of an RPio622 stage box allows for all chan-nels on that stage rack to be recorded directly to a DAW.Since mic preamps also remain active on a channel-by-channel basis, if a featured artist needs to sing or play alongwith playback, those channels can be patched easily fromthe RPio622 during virtual sound check.

Word-clock implementation depends upon the I/O topol-ogy scheme. Via a TWINLANe network, only one DSPengine is the master for a single network; if two DSPengines are connected on a single network, one will be themaster and the other the slave. The master clock on aTWINLANe network can be either the DSP engine’s internalclock (44.1kHz, 48kHz, 88.2kHz, 96kHz) or an external clocklinked to the word clock port on the master DSP engine.(Because the slave DSP engine uses word clock being sent

The RY16-DA 16-channel analog output card features level-setting switches on each channel.

The RY16-ML-SILK 16-channel mic/line analog input card incorporates a newly developed mic pre-amp and Rupert Neve Designs’ Silkprocessing modeled within the digital domain using Yamaha’s proprietary VCM technology.

The RY16-AE 16-channel AES/EBU-format I/O card features sample rate conversion on all ins and outs.


via the TWINLANe network, HY SLOT#1 is selected; if that clock is interrupt-ed, the slave DSP engine becomes asubstitute master.) And since sample-rate conversion is built into all AES-format I/O channels—one SRC for

every two channels—all signals arefully synchronized to the RIVAGEPM10 system’s master clock.

Summing upAs will be readily appreciated, theRIVAGE PM10 is an evolutionary mix-ing system, taking the best ofYamaha’s undeniable legacy of devel-oping sweet-sounding digital circuitrythat provides a range of flexible signalpaths. The user interface takes fulladvantage of assignability and layer-ing, with target control settings nevermore than a minimum number of but-ton pushes away from the surface ele-ments. The hybrid Mic preamplifierconcept with Silk processing com-bines highly valued aspects of vintageYamaha consoles with an enhancedlevel of signal processing that offer awide range of sound colors andexpressive control for live-sound engi-neers.

The familiar “selected channel”

Hear the Featuring 7kHz wideband audio, the DX410 provides unbeatable audio quality in a small, light-weight form factor. Made to take the punishment of daily use in tough

Contact Clear-Com for a demo today: www.clearcom.com

Clear-Com® is a registered trademark of HM Electronics, Inc.

New

The HY144-D Audinate Dante interfacecard transfers up to 144 channels ofaudio signals at a sampling frequency of96kHz; transmission up to 300' is possi-ble using 1Gbit CAT5e or better Ethernetcable.

The HY256-TL TWINLANe interface cardsupports 256-in/256-out of Yamaha’sproprietary transfer-network protocol viamulti-mode optical fiber cables.


interface has been augmented withenhanced signal-access functions; theresult is a fast, elegant user interfacewith unprecedented access to keyfunctions. Notable new features includeisolate and overlay filters for improvedscene-memory operation and followmode for the send masters and directs,together with flexible live recording anddual monitor outs. The large LCD touchscreens provide logical continuity withchannel faders with Centralogic-stylecontrol of simultaneous parameters.Dramatic changes to channel/outputEQ and dynamics—in addition to anarray of powerful DSP plug-ins—willput a lot of creative power into thehands of RIVAGE PM10 users.

My thanks to Kevin Kimmel,Yamaha Corporation of America’s sys-tems application engineer, and LesHarrison and John Conard fromHollywood Sound, Burbank, for pro-viding access to a fully featured PM10console within the dealer’s elegantlyequipped demonstration suite.

Late-Breaking News: The first twoYamaha Rivage PM10 Digital AudioConsoles to be shipped in the US arebeing used to handle front of houseand monitors for Carrie Underwood’sThe Storyteller Tour. “We are honoredto introduce [these consoles] on sucha high-profile tour,” stated ToddHudson, VP of operations. “For years

we have been delivering Yamaha con-soles to our clients; we trust theirproducts.”

“My first thought is that I love thisconsole; it’s amazing to get aroundon,” added Kirk ‘Eek’ Schreiner, front-of-house engineer for CarrieUnderwood. “The Yamaha PM10 is thefirst digital desk that sounds analog to

Top five features/functions 1. Great-Sounding Front End/Mic Preamplifiers.With new Yamaha-designed head amp, emulated Rupert Neve Silk processing and transformer feature.2. What Yamaha Has Done with DSP Plug-Ins.Spotlighting the innovative work of Dr. K’s famed Yamaha ResearchLaboratory.3. Routing of All Input Sources via Multiple Patches to Any Output.Different pick-off points to every bus enable inserts/plug-ins to be placedanywhere in signal path.4. Inclusion of 24 DCA Busses for Enhanced User Flexibility.For full grouping of stems and submixes for FOH and monitor setups.5. Innovative and Easy-to-Use Ring Connectivity via TWINLANe Networking.Offering 400 channels of 32-bit/96kHz digital audio with an accuracy of 12 samples.

Conference: June 4 - 10 | Exhibits: June 8 - 10Las Vegas Convention Center | Las Vegas, Nevada, USAinfocommshow.org

SAVE THE DATE!With more than 980 exhibitors of the best-known brands, likeSamsung, Crestron, Aurora, Christie, Panasonic, Blackmagic Design,Chief, DPI and Harman, InfoComm is the largest and most comprehensive trade show for commercial AV in the U.S.

Whether you’re an AV manager, integrator, CIO, architect, lighting

REGISTER NOW WITH CODE: MAGFOR FREE EXHIBITS-ONLY REGISTRATION

Equipment, Expendables, Systems, and Rigging for Entertainment and Architectural Lighting Since 1947.

Atlanta Boston Charlotte Chicago Dallas Denver Miami New York Orlando Phoenix Washington D.C. Australia United Kingdom India

866.502.2724 | [email protected]

Demand More.ExperienceProductsIdeasResourcesSolutionsPossibilities

www.barbizon.com

When looking at LEDs do you find yourselfleft with more questions than answers?

me. Using the transformers [stages]and Silk, I definitely noticed a hugedifference when I combined the two.”Cam Beachley, Carrie Underwood’smonitor engineer, has been using thePM10 since the beginning of 2016.“It’s super-easy to get around on, intu-itive, and sounds amazing,” he says.“With transformers on every channel,you can definitely hear the difference.Not so much width as field of depth.”Look for a report on the CarrieUnderwood tour in next month’sissue.

Mel Lambert has been intimatelyinvolved with production industries onboth sides of the Atlantic for moreyears than he cares to remember. Heis principal of Content Creators, a LosAngeles-based copywriting and edito-rial service, and can be reached [email protected];818.558-3924. He is also a 30-yearmember of the UK’s National Union ofJournalists.

Lighting Sound America Yamaha RIVAGE PM10 Digital Mixing … · 2016. 4. 13. · Series consoles....

Documents

Transcript of Lighting Sound America Yamaha RIVAGE PM10 Digital Mixing … · 2016. 4. 13. · Series consoles....