Yamaha RM800

The home and project studio mixer market is currently dominated by British and American manufacturers. With the release of the RM800 desk, Yamaha are clearly hoping that some of the success of their top‑end digital mixers will percolate down to the middle market. Derek Johnson finds out whether the RM800 has what it takes.

Ask any moderately clued‑up home studio owner where you can get a digital mixing desk for under £2000, and they're almost bound to say "Yamaha". Ask the same person where to go for a reasonably‑priced analogue recording console with lots of inputs and all the traditional features, and the answer is much more likely to be "Mackie or Soundcraft". So while Yamaha are at the forefront of affordable digital mixing development, with the ProMix 01 and the newly‑released 02R, they're far from established in the UK home and project studio market.

But Yamaha didn't get where they are today by not knowing a lucrative market when they see one. The announcement last year of the RM800 series of desks marked the opening shot of a campaign to establish a serious foothold in this already crowded market. The preliminary specification of the RM800s seemed to indicate that the desks would present good value for money, with all the features you'd expect from a traditional recording mixer, plus a very reasonable sub‑£1500 price tag (for the RM800‑16, at least). Now the desks are here 'in person', let's see whether the likes of Mackie and Soundcraft should be looking to their laurels...

Know Your Knobs

The RM800s are in‑line consoles (see 'Getting In Line' for an explanation of this concept) available in 16‑ or 24‑input versions — the choice is yours, but note that neither is expandable. Physically, the desks are imposing, and have a solid, professional look. They are also very strong, and it is quite possible to lean on the front panel without worrying about it caving in. The colour scheme is sober and effective, predominantly in pale grey, with colour‑coded pots all the way through: for example, all pan pots are red, all aux sends are blue, and all EQ controls are green. You'll also notice the connectors — they're laid out at the top of the desk, along with a large expanse of empty panel (which we'll discuss later). Surprisingly, Yamaha have opted not to supply their new desk with an arm rest.

The facilities offered by the input channels of both desks are identical; take a look at the channel strip reproduced elsewhere in this feature for full details.

Groovy Groups & Mega Masters

To the right of the input channels are the 100mm Group output faders, the Aux Send and Return master controls, and various monitor and control room controls, plus the master Stereo mix fader — yes, there's just one, and it makes fading out a mix child's play.

The group faders are each joined by an AFL (After Fader Listen) button, a bit of scribble strip — and nothing else. There are no pan or assign controls, so the signal always goes to the group output jacks, never to the main mix or monitor output. AFL, or Solo In Place, allows you to check the level of a signal on its own, but at its correct relative level.

The master auxiliary controls — four aux send controls, four returns (mono, if you wish) and four balance/pan controls — also feature an identical collection of routing buttons to that found on the input channels. So, if you want independent reverb for a headphone mix, or want to record effects to tape along with the main audio signal, you can. Also in this area is the Monitor/Aux 5‑6 send knob, along with its 'To Stereo' switch, which routes the monitor signal path from the input channels to the main stereo output.

The remaining controls govern what happens to the stereo mix. Apart from the single master fader, there are two level controls. One is labelled 'Control Room', and alters the level sent to your main amp and monitors, independent of the main mix out to your stereo mastering machine. The other is labelled 'Headphones'. Three associated switches allow you to choose to listen (in the control room and over headphones) to the main stereo mix, a 2‑track return, or the monitor. There is even a switch which will turn off the main stereo mix, if you like. This area of the front panel also features LEDs to indicate Power, Phantom Power, and PFL/AFL operation.

All that's left, operationally, are the 10 bargraph meters: eight meters show the levels of the groups outs, aux sends and/or PFL/AFL, and a pair of switches selects which meters do what. The remaining two bargraphs meter the stereo output.

Socket To 'Em

One very helpful feature of the RM800 is that its not‑inconsiderable arsenal of connectors is laid out on the front panel, and not hidden at the rear. Some potential users will no doubt quibble with the untidy rat's nest of cables erupting from the top of their mixer, but the accessibility of this arrangement will be appreciated by most.

However, the connections do take a little getting used to. For example, the input channels, while all offering separate Mic/Line and Tape inputs, come in two versions. The last eight inputs on both desks offer balanced XLR inputs with globally‑switchable phantom power, Tape In jacks (switchable between ‑10dBV and +4dB operation to suit your multitrack), insert points, and direct outs. The remaining inputs offer balanced Mic/Line‑in and unbalanced Tape In return jacks, and no inserts or direct outs. The last eight channels also feature some extra switching: the direct outs can be used simply as direct outs, which means the input signal can be sent straight to a tape track without subgrouping, leaving the subgroups available for the first eight (or 16 on the RM800‑24) inputs.

Add that up, and you have 16 tape tracks individually addressable at any one time — something that the manual doesn't make clear. Instead, the manual dwells on the alternate use of these eight direct outs: a switch allows them to mirror the subgroups. Used in this way, as an extra set of doubled‑up group outputs, the result is the same — 16 tape tracks can remain plugged in at any one time (though only eight tape tracks can be recorded at once). Either way, the flexibility of the RM800 is enhanced, and the in‑line design means that whatever method you choose to get your music onto tape, you'll have full monitoring for all tape returns.

In addition to the above, the main group outputs are duplicated, with two sets of Group Out jacks: one at +4dB and the other at ‑10dB. Why not offer just one set of jacks, with a switch for the two operating levels? This is a strange extravagance on what is a budget desk, and even less understandable when you notice that only groups 7 and 8 have their own insert points. In practice, this shouldn't be too much of a problem, but insert points on all eight groups would have been most welcome, especially since only eight of the input channels are so equipped.

We're still not done on the connector front: obviously, there are four Aux Send jacks, plus four sets of stereo returns, and a variety of stereo output and input connections. Here are the remaining connections in full:

• Main Stereo mix output, with two pairs of jacks: one pair offers ‑10dBV unbalanced operation, while the other offers a +4dB balanced connection.
• Stereo mix output insert points.
• Monitor Out/Aux Send 5‑6.
• Control Room output.
• 2‑track In, which allows you to monitor your mixed stereo recordings without repatching.
• Stereo submix input, which lets you easily patch in the stereo mix from another mixer (or a synth); the stereo submix input lacks a level control, and is routed direct to the stereo mix.

One connector you won't find is a Euro socket or DIN socket for a mains lead or external power supply: the PSU is thankfully internal, and the lead itself is captive.

Testing Times

Although initially a little confusing to operate, the RM800 soon proves itself a smooth‑running, fine‑sounding and quiet mixer, perfect for 8‑track recording and capable of 16‑track recording with little or no hassle. There are a number of very nice features, not least of which are the smooth and musical EQ (with a Bypass switch, no less!), the 100mm faders, and the nicely spaced layout.

The RM800 manages to deliver the goods without obviously copying any one desk.

One or two odd operational points are worthy of note. Firstly, the inclusion of two Mic/Line‑Tape buttons for each channel, one at the top and one in the Monitor section, causes a little initial head‑scratching. You might expect that there would be only one such button, which would select between Mic/Line and Tape by its up or down position. Just keep in mind that pressing the button at the top of the channel doesn't simply switch between states. You certainly use this button to decide whether the Mic/Line or Tape input passes through the main channel, but you also have the freedom to set up a separate monitor mix of the same audio material, which means the Monitor section's Mic/Line‑Tape switch would be in the same position as the main switch (a note to the unwary: if you were to inadvertently engage the Monitor To Stereo switch at this stage, two mixes of the same material would appear at the main stereo output). For monitoring tape returns (during tracking), or to use the monitor signal path as a source of extra mixer inputs, the Monitor section's Mic/Line‑Tape switch would have to be in the opposite position to that of the switch at the top of the channel.

One of the RM800's few patching compromises concerns the provision of only two insert points for the group outs, which is exacerbated by the fact that only eight of the input channels have insert points. If you need to compress or otherwise process your signals before going to tape, you'll have to plan accordingly, to make use of the insert points that are available, or set up a patchbay to do the job for you. And if eight channels of phantom‑powered mic inputs is not sufficient for your needs, you'll have to invest in some extra mic amps. However, not many buyers of the RM800 will be miking up really big drum kits or the local Philharmonic.

On a more positive note, the RM800 can be easily used for 16‑track recording with no repatching of leads in most circumstances, and offers plenty of monitoring options. Using the RM800 is much like using any other well‑designed, spaciously‑laid out desk: it doesn't get in your way while recording, whether that be to digital tape, hard disk or analogue tape.

Where the RM800 really scores is in build quality: it's a robust, solid desk which looks more than ready for life on the road. In fact, this robustness means that the RM800 is also rather heavy: the smaller RM800‑16 is just about luggable by one person, although it's not an easy job — and you'd definitely need two people to move the 24‑input version. Size‑wise, the desk is not quite compact, nor is it full‑size: while it would tend to dominate a bedroom studio, it wouldn't look out of place in a small commercial facility. This mid‑size design gives the desk a roomy layout so often lacking in some of its lighter and less‑solidly designed competition. It's also worth noting that although the controls are well‑spaced out, some may cause minor accessibility problems for users with short fingers (or long fingernails): for example, the EQ bypass buttons may cause the digitally‑challenged to accidentally interfere with Aux Send 1.

The manual is generally helpful, although there are one or two low points. It's one of Yamaha's multilingual jobs, so the English text runs to just 38 pages. Within those pages you'll find a good overview of the desk, a discussion on using in‑line consoles, plus plenty of useful tips, which will come in handy if you're new to this kind of desk (or any kind of desk at all). I must say, though, that the blatant plugs for Yamaha monitoring and amplification, while perhaps understandable, do tend to stick in the throat somewhat. I think the user would rather make up his or her own mind.

What Does The Panel Think?

Yamaha have certainly done their homework on this one: in designing the RM800, they must have had a look at what else was on the market for 8 and 16‑track recording, analysed the various combinations of facilities on offer, and then come up with their own variant. The result manages to deliver the goods without obviously copying any one desk, which can't be said for some other recent entries into this marketplace. It's possible to point at certain features (or lack of them), or compromises that remind me of other desks, but the general impression is of a new desk going after its own niche.

In this price range, the RM800 does have a certain amount of competition: for example, Mackie's SR24*4 is exactly the same price as the 16‑input RM800 (though the Mackie is a 24‑channel desk, it is not in‑line, which means that the Yamaha actually has more inputs). Which one you go for depends entirely on your needs. For example, the Mackie could be used for 8‑track recording, but only four channels are recordable at a time without fiddling with insert points, while the RM800 can manage 16‑track recording with few compromises. On the other hand, the Mackie has phantom‑powered mic inputs and insert points on all its mono inputs and sub‑groups, while the Yamaha only manages inserts on eight channels and two sub‑groups, and phantom power on only eight inputs. You pays your money... In comparison with other budget in‑line desks, the RM800 scores on a number of points, not least with regard to its reassuring build quality; some of the competition, while undeniably excellent value, suffers from a 'plasticky' construction to keep costs down.

The bottom line is that the RM800 is a well‑specified, well‑built desk that sounds good, is easy to use, and most assuredly does not cost the earth. There are plenty of inputs — 40 on mixdown for the RM800‑16 and 56 for the 24, plus the stereo buss input — enough auxiliary sends (although we always want more, right?) and a flexible, musical EQ that even offers a bypass switch, a feature missing from many budget desks.

Who'll buy the desk? Well, the RM800 would make a perfect companion for Alesis' ADAT or Tascam's DA88, and many a small studio — project, commercial or home, digital or analogue — would well be able to live with the one or two compromises. I'll predict popularity for the RM800 — it certainly deserves it, and may well turn potential customers away from home‑grown products. The mixer market has always been a competitive one, and it's going to be interesting to see how it reacts to this new challenge from Yamaha.