Yamaha IM8-24K Analog Console
The Yamaha IM8 sound mixing consoles bring experience and know-how accumulated over 35 years in pro audio mixer manufacturing. The IM8 audio mixers feature a no-compromise design and were developed to deliver the finest performance and most useful feature set available in this class.
Every inch of these pro audio mixers is well thought out and built for a purpose. There are no unnecessary features, and nothing is out of place.
Microphone preamplifiers are one of the most critical sound-defining circuits in any mixer. The microphone preamps built into the IM8 series consoles inherit technology from Yamaha's top-line professional consoles, and have been painstakingly designed to deliver superior sonic performance with any source.
They offer low-noise, transparent amplification with the widest possible range of dynamic and condenser microphones as well as line-level signals, which means cleaner, better sounding mixes overall.
Built-in channel compression is a premium feature usually only found on the most expensive consoles, but in the IM8 consoles you have Yamaha's innovative one-knob compression feature on all mono input channels.
Conventional audio compressors with their threshold, ratio, knee, makeup gain and other controls can be complex and time-consuming to set appropriately for a given source.
Yamaha's one-knob compressor eliminates the need for an engineering degree with a single control that lets you simply dial in the amount of compression you want.
All mono input channels have both balanced XLR type and TRS phone jacks for versatile input connectivity. Individual +48V phantom power switches on each mono channel provide phantom power for condenser microphones, and input levels can be optimally matched over a broad -60 dB through +10 dB range with a 26-dB pad switch and gain control.
Other input section facilities on mono channels are a phase switch and 80 Hz high-pass filter switch. Stereo input channels provide L and R phone jack inputs as well as pin jack stereo pairs. A gain control allows matching to stereo input signal levels from -34 dB to +10 dB.
All stereo and mono channels have four-band equalizers featuring HIGH, HI-MID, LO-MID, and LOW controls as well as an EQ ON switch that can be used to instantaneously switch the EQ in or out of circuit.
Mono channels have sweepable HI-MID and LO-MID controls that allow pinpointing specific frequencies for precise response tailoring or feedback control. The stereo channel HI-MID and LO-MID controls are fixed-frequency peaking types.
The IM8 series consoles provide plenty of auxiliary routing capacity for monitoring and handling external effects. All mono and stereo channels feature eight individual AUX send controls that can be switched for pre-fader or post-fader operation in pairs (i.e. AUX sends 1-2, 3-4, 5-6, and 7-8).
All channels feature smooth, noiseless full-length faders for level control as well as 3-segment input level meters that provide a valuable visual reference to channel signal levels. The three segments correspond to -20 dB, 0 dB, and Peak levels.
The peak indicator lights when the channel signal reaches 3-dB below clipping to warn the operator of impeding clipping distortion. Bus assign switches assign the channel signal to group bus pairs -- 1-2, 3-4, 5-6, and 7-8 -- as well as the stereo and mono buses.
Pan controls on the mono channels pan the assigned signal between the assigned odd/even groups as well as between L and R on the stereo bus. Stereo channels have balance controls rather than pan controls. Another extremely useful feature of these consoles is mute groups.
Each channel has four mute switches that assign channel muting to the corresponding mute master switches in the console's master section. You can specify up to four different mute configurations that can be instantaneously engaged or disengaged via the mute master switches.
There's also a channel ON switch with indicator, and a PFL switch with indicator for convenient pre-fader monitoring of the channel signal.