ProAudio Review - December 2008 - (Page 44)

live review by Karl Bader Yamaha IM8 Series Mixing Consoles This midrange live mixer series from Yamaha offers expected standard features and one feature worth the price of admission alone: one-knob compression per channel. At A Glance I was eager to hear what this console had to offer, especially considering the oneknob compressor and USB interface. These features could truly be handy. At first glance, I noticed the welllabeled 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 1/4-inch TRS jacks. Personally, I prefer XLRs on these outputs; I used this console both for monitor mix and corporate use, 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, 1/4-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 1/4-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). In many ways, the Yamaha IM8 Series is quite similar to other large-format live analog consoles currently available in the pro audio marketplace. Yet these three models offer two new and notable features to the world of big analog desks: a one-knob compressor on each channel and a USB interface for external playback and record. Features The Yamaha IM8 comes in 24-, 32-, or 40channel 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 4channel matrix section. The console also features four selectable mute groups. Each channel offers a 26 dB pad, phase reverse, and a switched 12 dB/octave 80 Hz high-pass filter. The EQ section offers 4-band parametric EQ with low shelving at 100 Hz, a lo/mid band sweepable from 80 Hz to 1.6 kHz, high/mid band sweepable from 400 Hz to 8 kHz, and high shelving at 10 kHz. The channels are constructed in groups of eight with a separate center master section (for those concerned about servicing). The console is powered by an external Yamaha PW8 power supply. The power supply takes up two rack spaces and weighs in at 24 lbs. Two power supplies can be redundantly linked via a PSL1010 link cable for zero down time in the case of failure. Karl Bader is a lead engineer for DC-based live sound company, Entertainment Sound Production. Reach him at karlbader@espsound.com. 44 ProAudioReview | December 2008 www.proaudioreview.com http://www.proaudioreview.com

Table of Contents Feed for the Digital Edition of ProAudio Review - December 2008

ProAudio Review - December 2008 Contents Technically Speaking New Studio Products Opinion: Mastering Matters Review: BIAS Peak Pro XT 6 Review: Zaxcom Fusion ENG Mixer and Multitrack Recorder Review: Sound Devices 788T 8-Track Digital Audio Recorder Review: Universal Audio UAD-2 Solo DSP Accelerator Review: Chandler Limited Germanium Compressor Review: RME ADI-8 QS A/D-D/A Converter Feature: Converters and Clocks: Engineers on Their Choices New Live Products Opinion: From the Road Review: Yamaha IM8 Series Mixing Consoles Review: NTI Digirator DR2 Digital Audio Signal Generator Review: Sencore SoundPro SP495 Audio Consultant Test Set Single Slice

ProAudio Review - December 2008

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