Input Channels; Input Section - Yamaha IM8-40 Brochure & Specs

Input Channels

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Monoral Input Stereo Input

Input Section

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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 lter 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
Precision Mic/Line Preampli ers
Microphone preampli ers are one of the most critical
sound-de ning circuits in any mixer. at's why professional
who are serious about their sound o en spend thousands of
dollars on just a single channel of microphone
pre-ampli cation. e 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. ey o er low-noise, transparent ampli cation with
the widest possible range of dynamic and condenser
microphones as well as line-level signals, which means
cleaner, better sounding mixes overall.
One-knob Compressor on
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All Mono Channels
is advanced Yamaha feature can be a tremendous advantage in
achieving great sound with a variety of sources. It is ideal for
compressing vocal channels, and can also be used to re ne the
sound of bass, guitar, and other instruments. 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.
4-band Equalizer
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Designing a smooth, musical-sounding equalizer is an
extremely di cult task that Yamaha engineers have perfected
through years of re nement based on feedback from some of
the most renowned engineers and artists in the eld. e IM8
series equalizers apply this specialized know-how to the fullest
degree. 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 speci c frequencies for precise response
tailoring or feedback control. e stereo channel HI-MID and
LO-MID controls are xed-frequency peaking types.
Input equalization CH INPUT HIGH:10kHz:shelving
(+15,-15dB maximum) Hi-MID:400-8kHz:peaking
Lo-MID:80-1.6kHz:peaking
LOW:100Hz:shelving
ST INPUT HIGH:10kHz:shelving
Hi-MID:3kHz:peaking
Lo-MID:800Hz:peaking
LOW:100Hz:shelving
8 AUX Sends
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e IM8 series consoles provide plenty of auxiliary
routing capacity for monitoring and handling external
e ects. 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 e ect sends ... or any other
combination that suits your needs.
Channel Output Control
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and Routing
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. e three
segments correspond to -20 dB, 0 dB, and Peak levels. e 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 di erent
mute con gurations that can be instantaneously engaged or
disengaged via the mute master switches. ere'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.
Real Panel