Southern Cross University (SCU), the renowned tertiary institution based in northeastern New South Wales, is celebrating the completion of its major Music and Media performance facility upgrade comprising Yamaha digital mixers, loudspeaker management, power amplifiers and loudspeakers to fulfil its live sound reinforcement and educational requirements.

In a major enhancement to the existing Multi Purpose Space at the University’s Lismore campus, SCU have made significant investments in both their FOH and foldback configurations by incorporating the complete Yamaha system.

SCU’s comprehensive upgrade features Yamaha M7CL-32 and LS9-32 digital mixing consoles, an SP2060 loudspeaker processor, ten PC-1N Series networkable power amplifiers (comprising four PC9501N, one PC4801N, and five PC3301N units) and a total of 18 of Yamaha’s high-end Installation Series loudspeakers (comprising six IF2112AS, one IF2208 and seven IF2108 full-range speakers along with four IS1118 subwoofers).

Mic Deacon, of the Music Production Program at SCU, chose the system based on cost-effectiveness, reliability and Yamaha's unsurpassed reputation for professional quality.

“The ability to provide touring acts with a technical facility that is industry standard was a major factor in selecting this digital technology,” Deacon states, stressing the importance of both the technical and educational outcomes of the upgrade. “In terms of a teaching facility, students need to get hands-on with the technology that they will eventually find employment on.”

As Deacon explains, the university had several motivations for opting for a complete Yamaha system.

“Yamaha's professional industry reputation for reliability, quality, ease of use, industry acceptance, convenient programming, scene store and recall, flexibility, user administration, expansion, service and support – not to mention the training and, obviously, cost – were the reasons why this product was chosen,” he explained.

“Having personally owned and operated Yamaha amplifiers for decades, I was very familiar with the audio quality and reliability of Yamaha products,” Deacon continues, noting that Yamaha’s digital mixers have set an industry standard with which the majority of touring engineers are already well-acquainted. “The programmable functions make for an easy set, sound check and recall.”

“The total package offered by Yamaha was exceptional value,” he summarises. “Great bang for buck.”

At FOH, the Concert Space’s mixing duties are now accomplished via Yamaha’s innovative M7CL-32 digital mixing console, while Yamaha’s (2-in, 6-out) SP2060 digital speaker processor fulfils the system’s loudspeaker management requirements.

While the M7CL console has been integral to the venue’s switch from analogue to digital mixing, Deacon explains that SCU will utilise the M7CL alongside their existing analogue equipment to instruct students on the differences between the two technologies. “The M7CL-32 FOH mixer can quickly be swapped for the analogue console for teaching analogue and digital operations,” he notes.

The SP2060 processor is situated at the FOH mixing position with an administrators' locked user setting specific to SCU’s installation. “The ease of set-up and security of internal settings add to the appeal of this system,” Deacon remarks. “Remember that this is a teaching environment where nothing should be hidden, so we can configure all our hardware and software settings from basic to advanced and still maintain a professional working system.”

“To illustrate the versatility of this system, a third year student Adrian Davis set up the system wirelessly networked and plotted the first show, both Front of House and Foldback, completely on his own with no prior training,” Deacon recalls. “Well, maybe he might have referred to a few specifics in the manual!”

The Concert Space’s FOH configuration has also become a major showcase for Yamaha’s high-end Installation Series loudspeakers. The venue’s FOH set-up comprises a total of six Yamaha IF2112AS two-way loudspeakers (with 12-inch woofer and asymmetrical horn) driven in bi-amped mode, as well as four IS1118 (single 18-inch) subwoofers.

Currently, four of the IF2112AS full-range boxes are flown two-per-side for maximum coverage, with the remaining two units to be employed in a delay cluster installation for educational purposes. The four IS1118 subwoofers are positioned two-per-side on a solid concrete floor.

“We had considered a line array system and investigated some very professional contenders,” Deacon recalls, explaining that he eventually opted for a traditional flown trapezoidal two-per-side system after an on-site demo of Yamaha’s Installation Series.

“At present, the system projects well to the back of the performance space,” he observes. “However, with the additional two IF2112AS, a flown delay of mid/hi will be installed for teaching the principles of delayed systems.”

The comprehensive FOH loudspeaker setup is driven by Yamaha’s networkable PC-1N Series power amplifiers: high-powered PC9501N units drive the IS1118 subs as well as the 12-inch low frequency drivers of the IF2112AS, while the IF2112AS’ 3-inch horns are powered using Yamaha’s PC3301N.

On the foldback side, Yamaha’s compact LS9-32 digital mixer handles the venue’s monitor mixing duties. “The sound check recall does it for me, not to mention the footprint,” says Deacon, expressing his confidence in the LS9 as the ideal digital mixer for the upcoming generation of students. “Twice the number of students can now observe the operation of a live show from sound check to performance.”

Like the FOH system, the venue’s monitor set-up is similarly handled by Yamaha Installation Series loudspeakers and PC-1N amplifiers. The foldback wedge configuration comprises seven Yamaha IF2108 (with single 8-inch woofer) for near, centre, far, synth, piano and listen-in sends, along with one IF2208 (with dual 8-inch woofers) for drum-fill, driven by a combination of Yamaha PC3301N and PC4801N power amplifiers.

“No longer does our foldback graphic curve look like the rocky road to Babylon,” Deacon remarks. “Performers have certainly commented on a much improved on stage sound.” Deacon explains that SCU’s upgrade arose from the need to overhaul existing equipment, fulfil the students’ growing educational and performance needs, and position the University for future applications. “Live performance has always been an integral part of the Contemporary Music program,” Deacon comments. “Performance students work alongside Production students to stage a weekly two-hour Concert, working with real-life technologies including projected vision mixed multi-camera shoots, separate FOH and foldback with numerous sends and a three-way split to the multi-track recording studio,” he explains, stressing the comprehensiveness and practical emphasis of SCU’s Contemporary Music and Media Programs. “Additional splits to broadcast facilities and video layback complement the technical set-up.” “Eventually, the time came to upgrade the audio system which had taken a good contemporary hammering over the past many years,” Deacon recalls, adding that once the Concert Space (Studio One 29) receives certification as a Place of Public Entertainment, the venue is likely to play host to several major productions and events in the future. “Having put this system to the test with weekly Concert events for the past 12 months, I am totally confident that the Yamaha system will more than surprise even the most critical listener and performer,” he states. “A competent engineer will easily be able to deliver quality sound on this system.” “I personally – and I want it known that I am not receiving nor want any commercial gain in saying this – have always used Yamaha as the benchmark of music industry products,” Deacon affirms, expressing his confidence in Yamaha’s ability to deliver industry reliability and cost-effectiveness to the pro audio industry. “They sit in a middle ground that has always, and I'd imagine will always be, the stable, working horse pro product that just goes on and on.”

Deacon also praises Yamaha’s Commercial Audio sales and support agent, Musiclab of Brisbane, who undertook installation of the new Yamaha system at SCU. “Musiclab was very supportive in getting the gear on-site in time for our Gala opening event,” Deacon recalls.

Mic Deacon spent the majority of the 1980s at the Sydney Opera House, mixing live sound, recording and working with a diverse range of acts that graced the Opera House stages and studios. “I was so fortunate to be under the wing of my mentors – Max Harding, Dave Connor, Bruce Cook, Colin Ford and Christo Curtis to name a few – and to be part of an audio crew who taught me the basics of providing quality sound,” he reminisces.

“Yamaha products featured heavily in my introduction to sound reinforcement,” Deacon recollects. “They went on to publish a very comprehensive manual on live sound reinforcement used throughout the industry. The country’s leading theatrical sound providers were also well stocked with Yamaha product.”

Deacon then left Sydney to work at Expo '88 in Brisbane, again in an audio engineering capacity, under the supervision of Rob Eastick, before commencing teaching audio at SCU (then known as the Northern Rivers College of Advanced Education) in 1989 in the institution’s Contemporary Music program.

“Over the past 20 years I have experienced an enormous wealth of talent, both performers and engineers, pass through the Contemporary Music program,” Deacon recalls. “Yamaha has always played a major role in the provision of audio product. Again, no product endorsement deals done here!”

Deacon says his first association with Yamaha’s professional audio equipment was on the PM700, which he operated on the Northern Boardwalk of the Sydney Opera House. Thereafter, he moved onto the PM1000, PM2000 and (at Expo ’88) the PM3000.

“How many professional engineers have not mixed show after show on these consoles?” Deacon asks rhetorically, reaffirming his decades-long support of Yamaha equipment. “Add the clarity of Yamaha amplifiers at an affordable price, with the reliability that the Australian pro industry will agree with, and how could you not consider Yamaha?”

For your info, the Gear specs for SCU Upgrade:
1 x Yamaha M7CL-32 Digital Mixing Console (FOH)
1 x Yamaha LS9-32 Digital Mixing Console (Foldback)
1 x Yamaha SP2060 Loudspeaker Processor (2-in, 6-out)
4 x Yamaha PC9501N Power Amplifiers (2 x 925W @ 8 Ohms)
1 x Yamaha PC4801N Power Amplifiers (2 x 475W @ 8 Ohms)
5 x Yamaha PC3301N Power Amplifiers (2 x 330W @ 8 Ohms)
6 x Yamaha IF2112AS Loudspeakers (single 12" with asymmetrical horn)
7 x Yamaha IF2108 Loudspeakers (single 8")
1 x Yamaha IF2208 Loudspeaker (dual 8")
4 x Yamaha IS1118 Subwoofer (single 18")
1 x Yamaha C7 Grand Piano