Yamaha Corporation has announced the HS3 and HS4, new models in the HS series of studio monitors.

HS Series speakers have become the standard in studio monitors, trusted for many years by the world’s top audio engineers, producers, and artists. Now Yamaha has redefined their essence in a compact housing. The HS3 and HS4 are powerful tools to help create a wide range of audio content—from music production to video editing—that meets the expectations of creators who have limited space and need to keep the volume down but do not want to compromise on monitoring quality.

The HS3 and HS4 continue the design philosophy and know-how of previous Yamaha studio monitors. No effort has been spared in the pursuit of the optimal product, and the resulting speakers comprise carefully selecting parts such as a high-performance class-D amp, a highly resilient cabinet, and woofers and soft dome tweeters that deliver a sound that is faithful to the source despite their small size. They also feature proprietary “Twisted Flare Port” technology that reduces air turbulence noise in the bass reflex port, providing clear and accurate bass. That’s the secret to why the HS3 and HS4 deliver outstanding resolution, sound image, and depth, with a flat response across all bandwidths without any colouring of the original sound.

The HS3 and HS4 are equipped with ROOM CONTROL and HIGH TRIM functions that allow you to make adjustments to achieve the ideal sound for any environment, such as reducing the unneeded, exaggerated low-end that can often occur when speakers are placed next to walls.

The rear panel of the HS3 and HS4 is equipped with combination XLR/TRS phone, RCA, and stereo mini connectors, allowing you to connect to a wide range of professional and consumer equipment such as computers, audio interfaces, audio mixers, and electric instruments. The most commonly used features—power button, volume knob, and headphone connector—are located in the front for easy access.

The compact size of the HS3 and HS4 was made possible thanks to the highly efficient class-D amp. Using one amp for two speakers has enabled us to both reduce the weight of the speakers and simplify the cable connections. They take up little space even in a small bedroom studio, and are easy to take with you on the road.

“We are pleased to announce the addition of a new model to the HS series,” says Yoshiyuki Tsugawa, Senior General Manager at Yamaha Creator & Consumer Audio Division. “We look forward to supporting the creative work of more people than ever before by offering even more ways to use the HS Series’ renowned high sound quality in a compact chassis.”

You can find out more HERE.

Yamaha makes ‘action’ products. It must be a fun place to work – everything is fast or noisy. Early to embrace the new world of digital consoles, it remains at the forefront of this evolving technology with a range of state-of-the-art products of all sizes. The new entry-level Yamaha DM3 is a super-compact 96k digital console with a focused set of pro features and flexible workflows.

The DM3 is the baby of the Yamaha digital mixer family and, while it sure looks like a cut down DM7 (Yamaha’s new big dog on the block), its closest relatives are the Yamaha TF series consoles. Updated from the TF and assimilated into the current range of digital consoles, the DM3 is a modern mixing board. The nine-inch touchscreen dominates operations. It combines with one knob and a dozen buttons to control the 16 inputs and eight outputs. Nine physical faders mix the show.

LITTLE LARGE FORMAT

The DM3 is cute as a button. It weighs just 6.5kg and can be carried in one hand, but it still presents as a serious bit of gear when you’re standing behind it. The surface is inviting with its simple fader layout and single turn ’n’ push control knob. The screen is angled for easy viewing and touch. The screen content is simple to understand at a glance. A touch takes you deeper if you want more detail. The six Layer buttons and six User buttons are where you need them on the lower right. Build quality seems high, it looks great and feels real.

Designed as a reasonably-priced multi-purpose console, the DM3 competes with the other, popular budget mixers, firstly by offering Yamaha’s proven sound quality and 96k sampling. All else being equal, higher sampling rates fundamentally improve digital sound by using more ‘dots’ to describe the sound wave, especially at high frequencies. Zoom all the way in on a 10kHz sine wave sampled at 44.1kHz on your DAW and you’ll see what I mean – not many dots per wave. The downside of higher sampling rates used to be big files to process and store but that’s easy now and 96k looks to be the current pro standard. In use, it’s a subtle but not insignificant improvement and while even higher sampling rates are currently being used, we’re probably approaching the law of diminishing returns. Latency from input to mix out is an imperceptible 1.3ms.

SCREEN TIME

Then there’s the (relatively) large and responsive multi-touch screen. It’s fast and decisive to tap, and happy to support drag and pinch gestures. The on-screen faders also respond well to touch. The slide gesture is nicely weighted for enhanced control and accurate to within a couple of dB with my clumsy fingers. An overview of all current levels is up the top of the screen, in the strip with always-present functions – Scenes, Preferences, Patching, USB, Monitoring and more. 

The complicated nature of digital mixing and the sheer quantity of stuff that can be presented simultaneously on a screen is pushing more functions onto screens and away from physical controls. It’s probably cheaper to make them too. You can, of course, go all the way and mix on an iPad or your phone but I don’t enjoy on-screen faders for active mixing, occasionally, perhaps, for a small adjustment or set- ’n’ forget gigs, but until Elon’s Neuralink catches on, nothing currently replaces hands-on proper 100mm faders.

Physical knobs are similarly better than virtual equivalents, especially for fine adjustments, but unlike faders they’re only used one at a time. I came to enjoy the single turn ’n’ push knob on the DM3, touching the screen and turning the knob is fast and accurate, pushing the knob to change its function is convenient… and you always know which knob to use. 

Yamaha has announced the new DM7 series of professional digital mixers. The culmination of decades of Yamaha development experience, the DM7 series takes the best elements of previous digital mixing systems and combines them with innovative new features in a compact, powerful, ergonomic, flexible, and expandable package.

Comprising two consoles and a control expansion unit, plus additional software packages, the DM7 series is designed to deliver exceptional results with enhanced workflow for live music, corporate events, theatre, broadcast, streaming and hybrid mixing, where one console is used to independently mix more than one feed.

Overview
An expandable, all-in-one digital mixer with a wide range of inputs and outputs, there are two models in the DM7 series. The DM7 features 32 inputs, 16 outputs and can process 120 input channels in a footprint measuring 793mm x 564mm, while the DM7 Compact has 16 inputs, 16 outputs and can process 72 input channels in a 468mm x 564mm footprint. Both models feature up to 144 in/out Dante networking at 96kHz, along with 48 mix, 12 matrix and two stereo busses. They can be used with the optional Yamaha R Series I/O Racks and a variety of Dante devices for extremely scalable, flexible audio systems.

Either console can be expanded with DM7 Control, to create the DM7-EX (or DM7-EX Compact) system. This unit adds more physical controls and is bundled with Broadcast and Theatre software packages. Combined with enhanced performance and new features, the DM7 series is extremely flexible, adapting to the size and style of application, as well as the workflow of the engineer.

Sound Quality
The starting point for audio engineering has to be transparent, uncoloured sound. Yamaha mixers are built to capture audio with pristine accuracy, before letting users add their creative expression. To achieve this, the DM7 series has a range of key features — for example the channel strip features the four varieties of channel EQ from the flagship RIVAGE PM series, alongside the completely new FET Limiter and Diode Bridge Comp. The order of the EQ and Dynamics 2 signal flow can also be changed.

Dan Dugan auto-mixing is included as standard. Preassigned on the channel strip, it allows up to 64 channels of automated mixing without consuming EQ Rack resources. Also included are a range of Yamaha’s acclaimed Virtual Circuitry Modelling (VCM) plugins, such as the Portico 5033 equaliser and Portico 5043 compressor/limiter (created in cooperation with Rupert Neve Designs), as well as the DaNSe dynamic noise suppressor and Dynamic EQ. There is also an FX Rack with access to a range of high quality effects.

Operation
The DM7 series features a new user interface, which is simpler and more efficient with an excellent, intuitive user workflow, while still retaining the well-known familiarity of Yamaha consoles.

Two large 12.1-inch (31cm) multi-touch screens (one on the DM7 Compact) combine intuitive, multi-touch operation with precise operation, using physical screen encoders and Yamaha’s familiar ‘touch and turn’ knobs. A new, advanced Selected Channel View displays a list of information on individual channels, allowing quick access to the parameters engineer want to operate, as well as the overview screen for analogue mixer-like operation. A histogram display has also been added to the input meters to help manage head amp levels.

A new innovation for the DM7 series is a 7-inch (18cm) utility screen, which keeps essential information and functions — such as scene lists, user defined keys and meters — readily accessible at all times.

Functionality
A major new feature of the DM7 series is Split Mode, which allows the input channels, scenes and mix busses to be divided, letting one DM7 or DM7 Compact function like two separate mixers. Using one console, users can mix Front of House and monitors, FoH and broadcast or streaming, etc. without compromise.

Onboard Dante networking supports up to 144 channels of input and output and can be connected to the devices from a wide range of manufacturers, for flexible and highly scalable audio systems. Head amp remote and device control are also supported, making it easy to patch and control Dante equipment from the console. The DM7 series also features a rear panel USB-C port with 18 input/output audio interface functionality for recording, distribution, playback and connection to conferencing systems, as well as control via MIDI devices and DAWs. Naturally, Yamaha’s renowned reliability is at the heart of the DM7 series, and to enhance this even further it features a redundant power supply. There is also the new Assist function which suggests head amp adjustments, naming and fader balance, helping users to reduce preparation time.

A wide range of software and apps — including DM7 Editor, DM7 StageMix, MonitorMix, Console File Converter, ProVisionaire Control and ProVisionaire Touch — is supported, which allow offline preparation, wireless mixing, monitor mixing and control (including peripheral equipment).

The DM7 series includes an Open Sound Control (OSC) server function, which enables the consoles to be controlled from OSC-compatible devices, and the DM7 Compact can be mounted in a standard 19-inch rack for convenience.

Expandability
The DM7 series can be expanded with the optional DM7 Control. Creating the DM7-EX (or DM7-EX Compact) system, this unit adds two more faders, user defined controls, a jog wheel for DAW control, scene memory, panner and monitor controls. It provides a comfortable operating environment for productions like musicals, which need comprehensive triggering and scene changes, and broadcasts where hands-on monitor and DAW control are important.

The DM7 Control unit is bundled with the dedicated software Broadcast Package and Theatre Package. The Broadcast Package has functions to enhance the convenience of broadcast mixing, including 5.1 Surround support, Mix Minus, Audio Follow Video and Loudness Meter. The Theatre Package includes Actor Library, DCA Scene Grid and AFC Image control, as well as other functions for theatrical applications. These packages can be purchased separately for DM7 series users who do not need the DM7 Control unit.

A rear panel PY Card slot on the DM7 and DM7 Compact offers enhanced connectivity with a variety of audio formats and external control devices. Three PY cards are available, the PY64-MD (64 MADI inputs/outputs), PY8-AE (8 input/8 output AES/EBU D-sub 25-pin connector) and the PY-MIDI-GPI (DIN five pin and D-sub 15-pin connectors for expanded MID/GPI control terminals).

The DM7 and DM7 Compact are also bundled with VST Rack Elements, plug-in host software which allows engineers to create their own effects racks, and Steinberg’s Nuendo Live DAW software, which is optimised for live recording.

“Complimenting the existing flagship RIVAGE PM and the trusted CL and QL series consoles, the DM7 series provides users with a powerful option to begin their Yamaha journey or expand their Yamaha fleet,” says Thomas Hemery, Yamaha General Manager of Global Marketing and Sales, Professional Solutions Division. “With expected future firmware updates, similar to the significant new RIVAGE PM feature launching soon, the DM7 series will continue to evolve for many years to come.”

Yamaha is pleased to add the DM3 series of digital mixers to its professional audio lineup. With both Dante-compatible and non-Dante models available, Yamaha’s new, most compact digital mixing consoles are versatile enough for a wide range of applications.

Choosing a compact digital console often means compromising on the features you need in the available space. The DM3 series is a new standard in compact mixers, shattering this stereotype. Offering up to 96kHz sound quality, powerful features, fast, simple setup and ease of operation in a chassis measuring just 320 x 140 x 455mm — and weighing only 6.5kg — the supremely portable DM3 series offers a combination unmatched by any other mixing console of this size.

There are two DM3 mixers in the series. The DM3 features Dante audio networking for quick and flexible connection to a wide range of compatible audio devices, and the DM3 Standard without Dante. Other than Dante provision, the features on both models are identical, featuring 16 mono, one stereo and two FX Return input mixing channels, plus six Mix Send, two FX Send, one stereo, and two matrix output mixing channels.

Offering superior audio, low latency and two high quality processors featuring 18 types of effects, a simple, intuitive user interface is centred around a large, 9-inch screen with multi-touch control. Small yet thoughtful features, like being able to choose from multiple languages for channel names (using the DM3 Editor or DM3 StageMix applications) displayed on the user’s choice of light or dark background, make the DM3 series easy to use in any space, lighting conditions, and by users of different nationalities.

Despite its compact size, the DM3 series means users can do more by being suitable for many different applications. With custom fader banks and MonitorMix support for personal monitor mixing, it has a wide variety of live sound applications, anything from simple presentations and conferences to live bands and multi-performer events. The DM3 is also ideal as a sub-mixer for a Dante-compatible main console.

The DM3 series is also a supremely portable, full-specification music production tool, covering all the bases for recording and editing needs, thanks to an included 18in/18out USB audio interface and DAW Remote functionality.

Multitrack recording via USB to Host is supported, while simple two track recording is also possible using a USB memory stick and a separate USB connector on the front panel. The Dante-capable DM3 adds further multitrack recording capability using Dante Virtual Soundcard. Meanwhile, the DAW Remote function means a range of DAWs can be controlled from the console. Recordings can then be edited with the bundled Cubase AI software or the DAW of your choice.

DM3 consoles include all the features needed for high quality streaming. With stereo and matrices, the audio routing gives users exceptional freedom and allows the creation of separate mixes for on-site and streaming sound.

Another key market for the DM3 series is in fixed installations. Both consoles support OSC and MIDI (via USB) general purpose external control protocols and User Account, User Defined Key and Custom Fader Bank can be used to configure settings for users. The consoles are compatible with Yamaha’s ProVisionaire software suite, which allows the creation of bespoke control panels, perfectly tailored to the needs of remote control and installation monitoring. Meanwhile, the optional RK-DM3 can be used to mount either unit in 13U of a standard 19-inch equipment rack.

The DM3 series is complemented by further powerful software applications, which help make them even more flexible. These include DM3 Editor, a standalone Windows or Mac application for both online operation and offline setup and editing, and DM3 StageMix, an iPad app that enables remote control of the DM3 Series via a simple, intuitive interface, allowing an engineer to control mix parameters from a performer’s position on the stage. Meanwhile, the MonitorMix application for iOS and Android devices puts control of each performer’s monitor mix in their hand.

To help significantly reduce setup time, both models are equipped with a wide range of scene presets, based on different usage scenarios. They also feature QuickPro Presets parameters, for a wide variety of microphones and output equipment, created in cooperation with well-respected engineers and major manufacturers. These can be used as they are or as a starting point for further adjustment.

“The DM3 series sets a new standard for compact console performance, offering superb sound quality, fast setup, straightforward operation and professional level features for live sound, streaming, live or home recording, music production and fixed installations – a combination unmatched in any other mixing console of this size,” says Thomas Hemery, Yamaha General Manager of Global Marketing and Sales, Professional Solutions Division. “In an ever-changing world which constantly presents new challenges as well as opportunities, DM3 series mixing consoles give users the power and flexibility to do more with a compact digital console.”

USB microphone or audio interface? It’s generally the case that, to improve upon your computer’s inherent audio capabilities, you pick either of the above options. With the AG01, Yamaha responds: “Why not both?”

Sure, the AG01 certainly looks like any other USB mic, albeit rather tall and with a few extra knobs on the front. But winning the ‘Best in Show’ award at NAMM 2022 means there’s more than meets the eye with this product. I alluded to its secret already – the AG01 creatively combines the simplicity of a USB mic with the flexibility of an audio interface. However you make sense of it, the AG01’s unique value proposition lies in this combination. 

Beyond the built-in cardioid condenser microphone, what other inputs and outputs are on offer? Well, there’s a 3.5mm TRS stereo aux input, another 3.5mm TRRS connection for passing audio to and from a smartphone, and a stereo Loopback input which takes audio from a computer connected via USB. Outputs are comprised of stereo headphone, stereo USB, and stereo smartphone (TRRS) channels. Audio quality is up to 24-bit/192k. The AG01 is designed to work seamlessly with both computers and iOS/Android devices. 

ON TARGET

Essentially, the AG01 is a USB mic with extra I/O. That begs the question: who exactly needs a product like this?

The target market is folks who livestream content with audio from both themselves and their computers. Twitch streamers are a prime example – the AG01 lets gamers pull audio from the game and narrate into the AG01 microphone simultaneously. Solo podcasters are another. Singers who want to livestream a vocal performance to YouTube Live over a backing track playing from their DAW. Or the AG01 can simply be a great-sounding USB mic for video calls. The applications are fairly broad. Only, it’s safe to say, the AG01 is primarily for solo users – unless you’re live streaming with someone over a Zoom call.

LET’S TALK

Despite the bells and whistles, the AG01’s central feature is its built-in microphone – and its success as a product relies heavily on how well that mic performs. First, a few specs. It’s a side-address cardioid condenser. Frequency response extends from 30Hz to 20kHz and the diaphragm will handle a maximum SPL of 110dB. Yamaha doesn’t state what size the capsule is but going by its full sound my guess is it’s around the one-inch mark.

And it sounds darn good. 

I review products like the AG01 with complicated expectations based mostly around the fact USB mics I’ve tested rarely sound as full and detailed as a counterpart with nothing but an XLR output. The AG01 is a definite exception. The mic has a refreshingly refined character about it. There’s a pleasant edge in the high mids which lends voices a sophisticated presence but without cheap and trashy trebles. On acoustic instruments I observed a balance of detail and weight to the sound, the kind I expect from more expensive studio condensers. Any enhancement you desire – a subtle high-end boost or notching out a pesky honk in the mids – is quickly dialled in with the software EQ. 

Unless you’re using the AG01 as a podcast mic, you probably won’t have your mouth close to the grille. In which case, an important feature of the AG01 is how well it rejects room noise because as the distance between the mic and source increases, so too does the mic’s pickup of room reflections relative to the source level. In this regard the cardioid pickup of the AG01 mic is reasonably wide. This can be useful, of course, but it can also audibly reveal the flaws in a poorly-treated room, especially under heavy compression. Remedy this by either fixing your room or moving the mic closer.

Unfortunately, the structure of the AG01 and its black-legged base does little to isolate the unit from shocks and bumps which translate audibly through any contact with the unit or the desk it’s sitting on. Plosives can be a problem too, if you’re too close or directly on-axis to the mic. If a high-pass filter doesn’t rectify this then clamp on a pop filter for peace of mind. 

Should you wish to mount the AG01 on a regular mic stand or boom arm, the mic’s black leg assembly can be unscrewed for easy connection via the rear mic stand thread.