The first thing you'll notice about the RM800 is every switch pertaining to muting, EQ, padding, and soloing ONLY operates if the button is pushed down. This includes the "ON" button in the stereo module (which is actually handy if you, say, get a phone call, etc. - you can just mute everything and pick up the receiver). The channel strip knobs are color coded and very easy to differentiate between; once you figure out where everything is you don't even have to think about which knob you're manipulating (wish all boards were like this!!). All of the input jacks are clearly marked and reasonably accessible, although since the jacks are all located on the top end (and faced upwards) you might want to cover the console when it's not in use to avoid dust particles from falling down in them (this should be done with any mixing console anyway). The faders are also color coded, and the throws are so long and roomy that one can use tape to mark fader positions, etc., making for a very professional feel. The knobs feel a bit on the rubbery side, but are durable and smooth to the touch, and the faders aren't the smoothest feeling (although I found them to be better than either the Mackie or the Behringer faders). The signal and peak indicators are plenty bright enough although their location is something left to be desired (you can't see them very easily unless you're sitting on a chair a couple of feet higher than the board) and are quite accurate (Yamaha apparently calibrated the peak indicators to have a little headroom to work with as signals DO NOT clip when the reds start flashing occasionally). The individual buss and stereo buss meters are very accurate, and the buss meters do multiple duty that include buss signal monitoring, send/return monitoring, and PFL/AFL monitoring (two switches located below the meters make the determination of what gets monitored).

Like most 8-buss consoles these days, the RM800 is an inline console meaning that each channel has two inputs, and acts like two 24-channel mixers stacked on top of each other. The EQ can't be split between the two channels, but can be assigned to either the main or the secondary, giving the selected channel EQ, fader control, and a pan while the other input will have its own separate pan and level controls. The main inputs get three aux sends/returns and the secondary gets one (although all four sends/returns can be assigned to either input if so desired). The secondary channels can also be routed to AUX 5-6 for things like headphone mixes, etc. The bottom line here is, if you have synthesizers or other audio sources (click track, etc.) that don't need any kind of EQ treatment and/or signal processing, then you patch them in on the secondary inputs without having to waste valuable inputs for signals that do need external processing and EQ; while at the same time you still have a good deal of control of where and how loud these signals are in the mix. The RM800 can of course function as a split console, using conventional methods with multi-track recorders, etc.

There are two types of channels on the RM800 - the first 16 have one balanced TRS 1/4" jack and one unbalanced 1/4" jack. Channels 17-24 each have one balanced XLR input and one 1/4" jack that can accept either -10dBV or +4dBV sources. These channels also have direct outs that are shared with groups 1-8 (a switch determines which goes through the output), and also have channel inserts for effects, etc. All 24 channels have a 20dB pad (to control very hot or unruly signals), and have a switch to determine which input gets the EQ and auxes 1, 2, and 3 (effects) A second switch determines which input gets routed to auxes 4, 5 and 6. It should be noted that aux 4 can be used for either a headphone mix or a fourth effect send/return (depending on the second switch). Each channel has four knobs for EQ (hi, mid, mid-sweep, low) and an EQ on/off switch, level controls for auxes 1-4 (effect returns), panpot and level controls for the secondary input, five channel assign buttons (buss 1-2, 3-4, 5-6, 7-8, and stereo), a channel on/off switch (otherwise known as muting), PFL switch, and last but not least, a 100mm fader. As stated above, the RM800's channel (and buss) strips are very ergonomic and easy to understand; it only took a short while before I knew where everything was and generally what did what.

The major question about EQ on any console is how good it is, when it should be what characteristics does it have, and when EQ should be applied to a signal. I personally believe EQ is a necessary evil, that is to say, I only use it when I really need to use it. There are plenty of Mackie 8-buss users out there that swear by their two parametric mid EQ's, but I find Mackie's EQ gain way too exponential (it doesn't have to be turned up much to get a whole lot of EQ gain).  The RM800's EQ gain is more linear in nature, and has useable frequencies in its mid sweep - allowing for some very unique sounds and finely detailed EQ'ing. This is not to say that the RM800's EQ is "better" than the Mackie's, just that it's better for users who want a little more personality to go into their mix. The frequency control offered is generally what's needed; you get an 80Hz low, 12Khz hi, and a mid sweepable from 250Hz to 5Khz. The EQ is also very quiet, sure, it adds a little bit of noise to the signal, but this will happen in any analog mixer. You can make it as totally crisp and punchy, or as dull and muffled as you want, so one can get both extremes and everything between out of the RM800's EQ. 4-band EQ would have been better, given the nature of the Yamaha EQ, but the implemented EQ suffices for any kind of application; one can always get an outboard EQ if they really need more.

Although Yamaha skimped a little in the buss section, what is found is quite adequate for most applications. You get a fader for each buss, plus a solo (AFL) button, and of course any channel can be assigned to any buss, as can the aux sends/returns. Speaking of the sends/returns in the buss section, you can also assign effects to AUX 5-6, so say, if the guitarist needs to hear effects in his cans but you don't need to hear them in the control room, you can route these effects accordingly and keep everyone happy. Each buss also has a tape out, plus a pair of group outs (calibrated to -10dBV and +4dBV respectively) making the RM800 useable with a 16-track recorder (24-track recording is also possible with the help of an 8-in x 16-out audio patchbay) and effectively gives three outputs to each buss. One minor thing I didn't like was the fact that there's no way to route the busses directly to the stereo buss. On the other hand, if you are mixing through the stereo buss it really doesn't make much sense to route through the busses anyway - this just adds more tedium (and complication) to the process. The master aux section has independent level controls for the sends and returns, plus a master volume control for AUX 5-6. There is also a button above AUX 5-6's master volume knob which gives you the option to either route the secondary channels to the stereo buss or the AUX 5-6 outputs.

The stereo buss has a standard set of features; there are indicators for phantom power, main power, and PFL/AFL, an on/off switch for phantom power, 2-track in monitor switch, AUX 5-6 monitor switch, and stereo monitor. There is a control room output level control, headphone jack, and phone level control. There are balanced stereo outputs (connection to a master 2-track) and unbalanced stereo outputs (these can be used for a variety of things such as connection to a secondary recorder, or connections to a second set of near-field monitors). There are also control room outputs, AUX 5-6 outputs, group 7-8 inserts, and a stereo insert (for outboard effects, etc.). I found most of this stuff to be very useable and most of all, convenient. One thing I saw that made me cringe was the lack of balanced stereo XLR outputs. However, Yamaha at least provided balanced TRS 1/4" outs, meaning one has to use TRS to XLR cables to run a balanced signal to the master 2-track. For all intensive purposes, I've found these connections to sound fine.

The first thing I noticed about the RM800's performance was that it was quiet. As in, VERY QUIET. Even when I intentionally maxed out the send/return levels on my noisiest processor, I still had the ride the stereo buss fader almost all the way open just to hear the noisefloor distinctly. I do these type of extremist (and perhaps sadistic) tests just to see where the quality of the electronics really stand in the real world. In any case, at nominal (and normal) levels, I couldn't hear a thing besides the musical element. In fact I found it real easy to get a very punchy and transparent mix without having to sacrifice anything or make compromises. Cosmetically speaking, the RM800 is a bit on the dingy side - the greyscale is a bit cumbersome (though the lettering is easier to read on this console than most). This console is also a bit unconventional in its design, and therefore somewhat of a pain to get set up, but once you get it going, it works great and doesn't fight you every step of the way. The thing is built like a tank (all steel chassis) and makes the RM800 less susceptible to physical damage (notwithstanding H20 and humidity) than consoles that have that plastic junk as a frame. 4-band EQ would have been nice, as would a talkback mic and meter bridge option, but considering one can currently pick this thing up for less than the going rate of top end 4-buss consoles, there's no place to complain, especially since the RM800 originally retailed in the same general range as the Mackie, Tascam M-1600 and Behringer Eurodesk 24x8 boards.

Comparing an RM800 to any of these boards is kind of pointless, because when it comes down to it, the quality of the mix is going to depend on the skills of the nerd behind the controls. It's all about personal preference. Why would anyone go out and buy something just because someone else thinks it's good? Pretty dangerous assumption!! All in all though, the RM800 is a HUGE bang for the buck - you will not find anything better in the current price range it's in. It may not be the mixer for you, but if you're on a budget and need a new mixer that can do a lot, then you owe it to yourself to go and check out the RM800.