I first had a look at the IM8 prototype at the NAMM show a couple years ago, but it wasn't until just a few weeks ago that I had a chance to get my hands on the IM8-40. Back at NAMM, I was told that the console was designed with houses of worship in mind – basically, because the mixing board has enough bells and whistles to satisfy a variety of mixing demands but 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.
The Gear
Each of the mono channels (40 on this board) have both balanced XLR and TRS input jacks. (Additionally, 4 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 26dB pad switch. The channel gain knob ranges from -60dB to -16dB unless the pad switch is engaged. In this case the gain knob ranges form -34dB to +10dB. Stereo channel gain operates in the -34dB to +10dB range. The phase switch can come in handy and of course there is an 80Hz 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. I'll let you know how well it works later.
The four band equalizer is next, but I think this may be a good time to mention that this mixing console is built in the same factory as the PM boards. This is a very well thought out, designed and built console.
Okay, back to the EQ. Both mono and stereo channel high EQ and low EQ are fixed at 10kHz and 100Hz. Mono channels have sweepable hi-mid and low-mid and stereo channels have their hi-mid fixed at 3kHz and their low-mid fixed at 800Hz.
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 8 sub-groups or just send the signal to the stereo or mono master outs. The balance knob (stereo) adjusts the signal volume balance. The left input jack will be sent to the odd channel of the group or the left stereo bus and the right input jack will be sent to the even channels or right stereo bus.
Input meters (mono and stereo) are made up of three LEDs and let you see if you are cruising along or slamming the channel input. Bus assign switches direct the signal to sub-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 4 different mute configurations. This is a cool little feature. Of course, smooth long 100mm faders are on board for each channel, and where would we be without a pre-fader listening switch (PFL)?
The master section is well-thought-out, beginning with the four stereo aux returns. These returns can be sent to the 8 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 sections. Here you can choose form RCA, USB and mini-plug inputs plus RCA, USB record outputs. The master group faders have on/off switches, signal 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. And don't forget 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 in a graphic EQ of whatever. With all this stuff, you probably want to know how well it sounds.
The Gig
I had only one grand show with the IM8-40. I used the board at the yearly Paramount Block Party for the Concern Foundation. I set the console up at the main stage. I was mixing an R&B band with four singers, a four-piece horn section and two drum kits. The band took up 32 of the 40 available inputs. Another note here; the IM8 is a pro board. Which means it will be generally rider-friendly and fit in at most gigs needing up to 40 inputs.
As I got into the sound check, 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 have to think too much about the hardware. I want knobs, switches and faders to be where I expect them, and I want important knobs and switches in obvious color displays.
Yamaha has done well with this mixer's overall design, and they have also created a handsome piece of equipment. The pre-amps are noticeably transparent, and the EQ is smooth and accurate. These two characteristics of any console are enough to make or break it, and Yamaha knocked it out of the park for this price range. I was uncertain about the one knob compression, but it worked impressively well and came in very 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. At this gig, I had two drummers, so the sub-groups were a must. In addition, both drummers did not always play at the same time, so the master mutes came in very handy.
Something also worth mentioning is that the mixer feels good – it 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.
As I mentioned the group had 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 an above worship sound) with this console and at this price point, it is within financial reach of just about anyone who wants one.
Yamaha IM8-40 Mixing Console
What It Is: Analog console
Who It's For: Those needing lots of inputs but lacking the funds or desire to go digital.
Pros: Rider-friendly, well laid-out, transparent pre's.
Cons: None.
How Much: (MSRP):
IM8-24: $4,799; IM8-32: $5,799; IM8-40: $6,499.
