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36
Road Test
Yamaha IM8 Mixing Console
Yamaha IM8
I
first had a look at the IM8 at the
2008 winter NAMM show. John
Schauer from Yamaha led me
to the secret room where the not
-yet-released board was waiting. Yamaha
is not the only manufacturer
that likes to keep their new products
undercover until the moment of release.
Just about every mixing console
manufacturer conceals their new
hardware until they are ready. What-
ever the reasoning behind Yamaha's
motives, John was definitely in secretagent
mode at NAMM. He told me that
this console was designed with houses
of worship in mind. It has enough bells
and whistles to satisfy a variety of mixing
demands and is still very simple to
operate. However, as I looked over the
board, I thought it would work well in
an array of operations outside of worship.
I think this may be a good time
to mention that this mixing console
is built in the same factory as the PM
boards. Just knowing this bit of information
leads me to believe that
this console is a well thought-out, designed
and built console.
The Gear RT
All mono channels have both balanced
XLR and TRS input jacks (Stereo
channels have unbalanced stereo
phone jacks and RCA jacks). You will
also find one insert I/O and one direct
out jack per mono channel. A +48-volt
switch turns phantom power on and
off at each mono channel followed by
a 26-dB pad switch. The channel gain
knob ranges from 60 dB to16 dB un-
less the pad switch is engaged. In this
case, the gain knob ranges from -34 dB
to +10 dB. Stereo channel gain operates
in the -34 dB to +10 dB range. The
phase switch can come in handy and,
of course, there is an 80-Hz high pass
filter switch. Every mono channel also
sports a one-knob compressor. Compression
can incorporate a lot of complex
parameters, but the Yamaha techs
have squeezed them into one knob.
The pre-amps are noticeably transparent
and the EQ is smooth and accurate.
These two characteristics
of a console are enough to make or
break it, and Yamaha knocked it out
of the park for the price range.
The four-band equalizer is next.
Both mono and stereo channel high EQ
and low EQ are fixed at 10 kHz and 100
Hz. Mono channels have sweepable himid
and low-mid, and stereo channels
have their hi-mid fixed at 3 kHz and
low-mid fixed at 800 Hz.
All stereo and mono channels have
eight individual aux sends. They are
grouped in pairs for pre-fader and
post-fader operations. The channel
pan knob (mono) will get you into any
of the eight groups or just send you
left or right. The balance knob (stereo)
adjusts the signal volume balance. The
left input jack can be sent to the odd
channel of the group or the left stereo
bus and the right input jack can
be sent to the even channels or right
stereo bus.
Input meters (mono and stereo) are
made up of three LEDs and enable you
to see if you are cruising along or slamming
the channel input. Bus assign
switches direct the signal to groups
1/2 to 7/8 or the stereo or mono bus.
You can mute your individual channel
or assign it to the 1-4 master mutes to
create up to four different mute configurations.
This is a cool little feature.
NOVEMBER 2008 www.fohonline.com
Of course, smooth, long faders are on
board for each channel. Besides where
would we be without a pre-fader listening
switch (PFL)?
The master section is well thoughtout
beginning with the four stereo aux
returns. These returns can be sent to
the eight group, stereo or mono bus via
the bus assign switches. Each aux return
has a level knob and a PFL switch.
The aux sends are routed through
eight faders with LEDs and AFL switches.
Just right of the aux returns are
2-track stereo/mono in/USB section.
Here you can choose from RCA, USB
and mini-plug inputs plus RCA, USB
record outputs. The master group faders
have on/off switches, LEDs, mono
and stereo routing switches and AFL
switches.
The matrix section gives you four
matrix outs fed from the groups, stereo
and mono bus — very handy for
those extra outputs. They also have
rotary level control knobs and AFL
switches. Next to the matrix section
are the four mute master switches. The
talkback section lets you route your
talkback signal just about everywhere:
auxes, groups, stereo/mono or through
the matrix outs. Of course, you have a
level knob and on/off switch. The master
stereo out incorporates two faders
PFL and AFL switches, an on/off switch
and a stereo LED meter. There is also a
separate mono master fader out. Not
to be forgotten is the monitor section
with its LED meters, PFL/AFL, monitor
and phone level rotary knobs. One last
note on the stereo and mono master
outs: They both sport insert I/Os for
throwing of a graphic EQ of whatever.
The Gig RT
My biggest gig with the IM8 was
at a Billy Vera show. I was testing the
32-channel chassis using 28 of those
channels. The first thing that comes to
mind is that the mixer is designed very
logically. When I am using a new console,
I don't want to think too much
about the hardware — I want knobs,
switches and faders to be where I expect
them and important ones in obvious
color displays. Yamaha did a good
By JamieRio
job with this mixer’s overall design.
The pre-amps are noticeably transparent
and the EQ is smooth and accurate.
These two characteristics of a console
are enough to make or break it, and
Yamaha knocked it out of the park for
the price range.
I was uncertain about the oneknob
compression, but it worked well
and came in handy for things like bass
and drums. Having the compression
knob right there without having to
patch anything in is sweet. I was mixing
monitors from FOH at this gig and
having a good amount of aux sends
made things easier. Also, the faders
on the aux sends made adjustments
more accurate. I had two drummers
at this gig, so the sub-groups were
a must. In addition, both drummers
did not always play at the same time,
in which case master mutes came in
handy.
Also worth mentioning is that the
mixer feels solid. That may be a hard
concept to get across, but it is the difference
between working with a pro
piece of equipment and a toy. Billy
has four horn players (two trumpets
and two saxes), and once again, the
onboard compression was invaluable
with this section (not to mention the
sub-groups). I think Yamaha will be
able to fill a whole lot of mixing needs
and scenarios (over and above worship
sound) with this console, and at
this price point, it is available to just
about anyone who wants it.
Yamaha IM8 Mixing Console
What It Is: Analog mixing console.
Pros: Logically designed, smooth
and accurate EQ, affordable price.
Cons: Nada.
How Much: IM8-24: $4,799, IM8-32:
$5,799 and IM8-40: $6,499.
Web site: www.yamahaca.com