Solid Performance and Superior Sound for Professional Applications
The Yamaha IM8-24 brings experience and know-how accumulated over 35 years in the production of industry-leading mixing consoles to bear in a console that cuts no corners when it comes to overall performance and sonic quality. In addition to no-compromis...
Solid Performance and Superior Sound for Professional Applications
The Yamaha IM8-24 brings experience and know-how accumulated over 35 years in the production of industry-leading mixing consoles to bear in a console that cuts no corners when it comes to overall performance and sonic quality. In addition to no-compromise design and development aimed at delivering the finest performance and most useful feature set available in this class, production and assembly are carried out at Yamaha's own domestic facilities in Japan – the same factories where the legendary Yamaha PM series consoles are produced – to ensure unrelenting quality control throughout. Every inch of this extraordinary console is well thought out and built for a purpose. There are no unnecessary features, and nothing is out of place. The IM8-24 console delivers a basic but plentiful complement of features plus truly transparent, high-resolution sound with tireless reliability. These are consoles for serious sound applications, and will provide eminently professional performance, sound, and control in permanent installations or on the road.
Professional build, features, and performance for serious live sound applications.
Microphone preamplifiers are one of the most critical sound-defining circuits in any mixer. That's why professional who are serious about their sound often spend thousands of dollars on just a single channel of microphone pre-amplification. The microphone preamps built into the IM-24 console inherits technology from Yamaha's top-line professional consoles, and is painstakingly designed to deliver superior sonic performance with any source. They offer low-noise, transparent amplification with the widest possible range…from dynamic and condenser microphones up to line-level signals, assuring cleaner, better sounding mixes overall.
Precision Mic/Line Preamplifiers
Microphone preamplifiers are one of the most critical sound-defining circuits in any mixer. That's why professional who are serious about their sound often spend thousands of dollars on just a single channel of microphone pre-amplification. The microphone preamps built into the IM8-24 console inherit technology from Yamaha's top-line professional consoles, painstakingly designed to deliver superior sonic performance with any source. They offer extremely low-noise, transparent amplification with the widest possible range of signals, which means cleaner, better sounding mixes overall.
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.
One-knob Compressor on All Mono Channels
This advanced Yamaha feature can be a tremendous advantage in achieving great sound with a variety of sources. It is ideal for taming an unruly vocal channel, or to refine the sound of bass, guitar, drums and other instruments. Built-in channel compression is a premium feature usually only found on much more expensive consoles, but in the IM8-24 console you have Yamaha's innovative one-knob compression feature on all 24 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 desired. A yellow LED indicates when the compression is active.
Designing a smooth, musical-sounding equalizer is an extremely difficult task that Yamaha engineers have perfected through years of refinement based on feedback from some of the most renowned engineers and artists in the field. The IM8-24 equalizers apply this specialized know-how to the fullest degree. All four stereo and 24 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.
8 AUX Sends
The IM8-24 console provides 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). You could, for example, set three of the AUX pairs for pre-fader operation so you have six individual monitor sends, while the remaining pair is set to post-fader for use as two effect sends … or any other combination that suits your needs.
Channel Output Control and Routing
All channels feature smooth, noiseless full-length 100mm faders for level control as well as 3-segment input level meters that provide a valuable visual reference of 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 impending clipping distortion. Bus assign switches along side of the fader assign the channel signal to group bus pairs — 1-2, 3-4, 5-6, and 7-8 — as well as the dedicated 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 offer 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.
Additional Channel I/O
All mono input channels feature insert I/O patch points so you can insert compressors, EQ, or other extra signal-processing gear into the channel signal path as required. Direct out jacks are also provided, and these can be internally jumpered to deliver the pre-EQ, pre-fader, or post-fader channel signal as required.
Master Control Section
AUX Send Masters
The IM8-24 console master section provides individual linear AUX send master faders for each of the eight AUX buses. These smooth linear faders make the IM8-24 console an ideal choice for monitor mixing as well as front-of-house operation, affording precise fader positioning with visual feedback for perfectly balanced monitor mixes. Each AUX send master fader has a 3-segment level meter for visual level confirmation, and an AFL switch with indicator for convenient AUX signal monitoring. Insert patch points are provided before the AUX send faders, and the AUX send outputs on the rear panel are balanced XLR types.
Four Stereo AUX Returns
Four stereo AUX returns are ideal for returning signals from external effects such as reverb and delay to the console. In addition to assign switches that allow the returned signals to be assigned to group bus pairs 1-2 through 7-8, rotary AUX 1 through AUX 4 controls can be used to send the retuned signals to the corresponding AUX buses at the specified level. Of course there's a master return level control for each of the four stereo returns, as well as PFL switches with indicators for easy pre-fader monitoring.
The IM8-24 console features four matrix outputs that can be fed signals from all eight of the group busses as well as the stereo and mono bus. Individual level controls for each source bus are provided for each of the four matrix outputs, along with a master matrix level control and AFL switch for local signal monitoring. The matrix is a convenient and configurable system for providing additional output mixes for any number of utility applications: extra monitors, dressing room feeds, lobby sound, and more.
These four switches instantly mute or un-mute all channels on which the correspondingly numbered MUTE switches are engaged. This allows you to set up as many as four different channel mute configurations and engage or disengage them instantly as required.. This is a great way to handle multiple bands, for example, or to shut down specific groups of microphone inputs when they're not being used.
In addition to a rear-panel mounted microphone connector and the standard ON switch and level control in the master section, the IM8-24 offers versatile talkback routing with eight switches that assign the talkback signal to individual AUX bus pairs (1-2, 3-4. 5-6, and 7-8), all group buses, the stereo and mono buses, or any of two matrix output pairs (1-2, 3-4).
Any time you press an AFL (after-fader listen) or PFL (pre-fader listen) switch anywhere on the console the corresponding signal is sent to the rear-panel monitor outputs as well as to the headphone output. At the same time the PFL or AFL indicator in the monitor section will light to indicate that one or more AFL/PFL switches are active. The indicators associated with each AFL and PFL switch let you see which ones are active at a glance. The monitor section also features level controls for the monitor and headphone outputs, and a precise 12-segment level meter.
Stereo and Mono Masters
Balanced XLR type output jacks on the rear panel deliver the console’s stereo output, and the level of the signal appearing at these outputs is controlled via the L and R stereo master faders. An ON switch turns stereo output on or of, and a precise 12-segment level meter with peak indicators shows stereo signal levels. The stereo master faders have PFL as well as AFL switches, allowing either pre-fader and after-fader monitoring of the stereo bus signal. The mono bus output is also delivered via a balanced rear-panel XLR type connector, and the level is adjusted via an independent master mono fader with ON switch, 3-segment level indicator, and AFL switch/indicator. Both the stereo and mono buses also feature pre-fader insert patch points on the rear panel.
All eight group buses feature full-length 100mm faders for precise level control, as well as 3-segment level indicators for convenient visual level monitoring. In addition to being output from the corresponding balanced TRS phone jacks on the real panel, the group bus signals can be assigned to the console's stereo and/or mono buses via dedicated assign switches located next to the faders. A pan control provides panning capability when a group bus signal is assigned to the stereo bus. AFL switches and indicators are also provided for each group fader. Group jacks provided on the rear panel provide pre-fader insert access to the group signal path.
2TR IN/USB and REC OUT/USB Sections
The IM8-24 console features 2-track input and stereo record output facilities in both analog and digital formats. Analog 2-track input can be connected to the console via the rear-panel stereo pin jacks or a stereo mini-phone jack on the front panel. Assign switches allow the received 2-track signal to be sent to the stereo and/or mono buses, while a rotary control adjusts the signal level. A PFL switch and indicator are also provided to easily monitor the 2-track signal. Conversely, the signal from the stereo and/or mono buses can be assigned to a pair of pin-jack record outputs on the rear panel for connection to an external 2-track recording or similar device. The functions of the 2-track inputs and record outputs are duplicated by a USB terminal that can be used to transfer the corresponding digital audio signals to and/or from a computer running the supplied Cubase AI4 audio workstation software for direct digital recording from the console or playback via the console.
Front-panel Stereo Mini Phone Jack Input
A stereo mini phone jack on the console’s front panel provides a conveniently located input for a portable audio player or similar device used to supply BGM, sound effects, or any other audio signal to be fed to the console's 2TR IN channel.
Audio & Video
|Phantom power||+48V DC (Each Channel)|
|Line inputs||4x Stereo|
|Mixing capability||Mixing channels||24 mono + 4 stereo|
|Input channel functions||Compressor (Mic Channel Only), HPF (80Hz, 12dB/oct), 4-band mid-sweep PEQ(4-band PEQ with ST CH)|
|Others||USB Audio I/O|
|Total Harmonic Distortion||Less than 0.1% (20Hz to 20kHz)|
|Frequency Response||0, +1, -3dB (20Hz to 20kHz)|
|Hum & Noise Level||Equivalent Input Noise||-128dBu|
|Crosstalk||Less than -70db|
|Power Requirements||Use PW8 Power Supply Unit|
|Power Consumption||200W (Use with PW8)|
|Accessories||Owner's Manual, Power Supply Link Cable (3m), Cubase AI4|