AudioMedia - February 2009 - (Page 62)

02|09 AM YAMAHA IM8 SERIES Mixing Consoles This mid-range live mixer series from Yamaha offers expected standard features, and one feature worth the price of admission alone: one-knob compression per channel. KARL BADER explores further. n many ways, the Yamaha IM Series is quite similar to other large format live analogue consoles currently available in the pro audio marketplace. Yet these three models offer two new and notable features to the world of big analogue desks: a one-knob compressor on each channel, and a USB interface for external playback and record. I The Yamaha IM comes in , , or channel frames. Additional inputs include four stereo channels on faders, and four stereo auxiliary returns on knobs. They all come with eight pre/post selectable auxiliary sends, in sets of two or eight subgroups, a stereo and mono bus, and a four-channel matrix section. The console also features four selectable mute groups. Each channel offers a dB pad, phase reverse, and a switched dB/octave Hz highpass filter. The EQ section offers four-band parametric EQ with low shelving at Hz, a lo/mid band sweepable from Hz to . kHz, high/mid band sweepable from Hz to kHz, and high shelving at kHz. The channels are constructed in groups of eight with a separate centre master section (for those concerned about servicing). The console is powered by an external Yamaha PW power supply. The power supply takes up two rack spaces and weighs in at lbs. Two power supplies can be redundantly linked via a PSL link cable for zero down time in the case of failure. Features THE REVIEWER KARL BADER is a lead engineer for DC-based live sound company Entertainment Sound Pro d u c t i o n . R e a c h h i m a t karlbader@espsound.com. I was eager to hear what this console had to offer, especially considering the one knob compressor and USB interface. These features could truly be handy. At first glance, I noticed the well-labelled layout and its sleek, modern look. On the rear panel, I liked how all the aux outputs were on XLRs, which is very convenient. The subgroup, matrix, and monitor outputs are on quarterinch TRS jacks. Personally, I prefer XLRs on these outputs; I used this console both for monitor mix and corporate use, At A G lance both requiring a lot of zone outputs. However, this output arrangement is typical for this price range of consoles. I brought a lot of TRS to XLR adapters to remedy this. All the inserts on both channels and outputs were single point unbalanced, also typical in this price range. The tip is wired for send, ring for return, and ground on the sleeve. One problem with the layout of the back of this console is that the direct outs, quarter-inch inputs, and inserts are located below the mono XLR inputs. It is awkward to plug in the inserts, and I had to unplug the XLR connector to make sure the quarter-inch connector was going into the right hole. Since a snake fan-out almost always stays plugged into the XLRs, it was a cumbersome workaround; this presents a major problem when the need arises to hot-plug an insert mid show – there is no option of unplugging to make sure it’s being plugged in correctly. I would have really liked to see XLRs on the bottom (like Yamaha’s higher priced consoles). While labelling the console, it was difficult to lay down masking tape since the screws that hold the modules to the frame are in line with where the tape goes, both above and below the faders. I do though like the aux masters being on faders, rather than knobs –though it's not a feature that's new to Yamaha. I wished there had been a mute button on the aux masters: a handy feature when a band goes on break and masters aren’t set at unity or to set up different speaker zones for a show when you just want to listen to a particular zone. On the IM , the mute masters are placed at the top right of the centrally located master section. The monitor and phone level knobs are well placed right above the master faders and are large enough for easy and accurate turning. The headphone jack is located under the armrest of the console in the centre, preventing finger tripping as a cable crosses the faders. The console itself sounded surprisingly good for its price range. Its EQ was pleasantly sensitive; little adjustments Surprisingly G ood EQ 62 AUDIO MEDIA FEBRUARY 2009

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AudioMedia - February 2009 Contents Recording News Post News Broadcast News GEO Focus: USA What's Up UK NAMM Review For the Record Project Profile: Hallelujah HHB CDR882 KORG MR-20005 Chandler Germanium Brauner Phanthera Final Cut: Lesbian Vampire Killers SE Electronics RNR1 The Royal Opera House Fairlight XYNERGI Limiting Loudness Product Sampler: Studio Consoles Video Guide AMSR News Stone Temple Pilots Fly Again Rode M2 Yamaha IM8 Series

AudioMedia - February 2009

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