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"We went for Yamaha because we're familiar with their equipment, and they're easy to use."
"I used the desk's first 24 channels, with twelve lavalieres, eight hand-held mics, the audio tracks for the vintage film footage from RAI's archives and a few service channels. By means of the DM2000V2's MY16-AE (AES/EBU) card, the signals were fed out from the console directly into the DME64N. With just one conversion, we had more gain and less feedback risks than if we'd used an analogue console, which would have required two conversions. The twelve Aux sends on the DM2000V2 were thus connected to the DME, which in turn routed the mix-down to all the speakers in the studio. In this way, I could raise or lower the volume or equalize each enclosure or group of enclosures exactly as required by the show's sound design, and there were 32 enclosures in all!"
"We chose Yamaha digital desks because they're well respected in the industry and also because most of our students will almost certainly use them in their future careers."
"This is the very first time for me, as I was a convinced analogue user, but I must say that the DM2000 has a really intuitive interface and is great to work with. Plus, it sounds really good and we get precisely the sound we want."
"I've been using it for two years on musical theatre shows - by itself, using it to control monitors from the FOH position, or along with another mixer. So it's a desk I'm very familiar with - I've done over 200 hitch-free shows!"
