ProAudio Review - December 2008 - (Page 45)

Fast Facts Applications Live music clubs/theaters, houses of worship (HOW), functions as a 2-track recording console Key Features 24-, 32-, or 40-channel frame; eight aux sends; 2track USB interface; one-knob compressor on each channel. Price MSRP 24-channel frame—$4,799, 32-channel— $5,799, 40-channel—$6,499 Contact Yamaha Live Sound | 714-522-9011 | www.yamaha.com/livesound Product Points One-knob compressor creates simplicity Large Q of EQ makes it easier for those without a refined ear One-knob compressor limits control of compressor Two-track USB I/O has major routing limitations Score for installation IM8houses of worship andanalog The Yamaha is a good midrange console, ideal in clubs featuring live performances. The EQ sounds like it is a rather wide Q. I have no problems with a wide Q; sometimes it is handy, but sometimes it isn’t. The preamps sounded very Yamaha —typical, in my opinion. They sound fine until they are hit hard; then they can become crunchy and thin-sounding. That One-Knob Compressor Undoubtedly, the IM8 console’s most important feature is the compressor on each channel. The compressor worked as expected, smoothing out the dynamic range evenly as a compressor should. I must admit that, before using the console, I was a bit skeptical of the one-knob compressor. Yamaha took out adjustments that most engineers are accustomed to and think we need in compression: ratio, attack time, release, etc. A one-knob compressor is oversimplified and “dumbed down,” if you will. Yet after using the one knob compressor, I liked its simplicity. As it compressed and reduced gain, it added gain so the output level always sounded about the same. To my ears, the While labeling the console, it was difficult to lay down marking 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. Meanwhile, I like the aux masters being on faders, not knobs. This is not a new feature to Yamaha. I wish there was 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. The mute group master buttons, in my opinion, are poorly placed. I like them within easy reach, which is usually closer to the faders. On the IM8, the mute masters are placed IM8 inputs and outputs abound. at the top right of the centrally located master section. On the other hand, the monitor and phone level knobs are well placed right above the master faders; they are nice and large enough for easy and accurate turning. The headphone jack is located under the armrest of the console in the center, preventing finger tripping as a cable crosses the faders. Surprisingly Good EQ The console itself sounded surprisingly good for its price range. Its EQ was pleasantly sensitive; little adjustments were noticeable and did exactly what was expected. Personally, I like a little bit of overlap with my EQ parameters, but there is a hole between 8 kHz and 10 kHz where the mid/high knobs and high knobs overlap and I wish the lo/mid band went even lower in frequency. compressor sounded like the compression ratio was constant throughout the knob turn and, in using it, you are simply changing gain and threshold with one knob. The one thing I did not like about the compressor is that it exhibits a hard knee; I prefer to hear a smooth transition between when compression is present and not. After my first show using this console, I wanted to assess the quality of the compressors. I put together a test rig in the shop consisting of a microphone split to three different channels. Channel one used the one knob compressor on board. Channel two used a channel of a dbx 1046. Channel three was a Behringer Composer pro compressor. I first went through each compressor and set the threshold and the output gain to the same as the setting I had for the Yamaha IM8 knob. Next I A-B’ed back and forth between the channel compressor and the 1046 www.proaudioreview.com December 2008 | ProAudioReview 45 http://www.yamaha.com/livesound 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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