- Product 247113
Yamaha AW2400 Studio Package
- Write a Review
Here's an audio studio package that includes a Yamaha AW2400 24-track audio workstation, 2 HS80M 8" powered studio monitors, MXL 992 large-diaphragm ...Click To Read More About This Product
We're sorry-this item is unavailable.
Find a similar product below or contact our experts for a recommendation of great alternatives. Call us at 800-449-9128.Customers Also Viewed:
A complete 24-track home studio with pro sound.
Here's an audio studio package that includes a Yamaha AW2400 24-track audio workstation, 2 HS80M 8" powered studio monitors, MXL 992 large-diaphragm condenser microphone, MXL 993 condenser microphones stereo pair, BBE 362 Sonic Maximizer, Audio-Technica ATH-M50 studio monitor headphones, 2 - 10' LiveWire Advantage Series 1/4" straight instrument cables, 2 - 9.8' (3m) Monster Cable Studio Link 500 Interconnect TRS (M) - TRS (M) cables, ProMedia 80-minute 52X 50-pack CD-Rs, 2 ProLine tripod boom microphone stands, and 4 - 20' LiveWire microphone cables.
Yamaha AW2400 24-Track Audio Workstation
The top of the AW line with 24 simultaneous tracks of playback, motorized 100mm faders, and the same expansion slot found on Yamaha's high-end digital mixing consoles for connecting the AW to professional studio gear.
The Yamaha AW2400 is proof that an audio workstation offering professional-level features and performance can also be easy to use. Once you've learned the basics, you can efficiently go from concept to CD while concentrating on the music rather than the technical details.
The addition of USB 2.0 compatibility for dragging and dropping files to your computer and a mini-YGDAI card slot for interfacing with virtually every piece of professional gear on the market make the Yamaha AW2400 the perfect portable recording solution for the professional project studio.
Up to 16 inputs, 24 tracks
The Yamaha AW2400 mixer supports up to 16 simultaneous inputs in 2 layers: 8 of the 12 - 100-millimeter motor faders provided on the AW2400 panel can be instantly switched to control inputs 1-8 or 9-16. 8 balanced mic/line XLR type connectors as well as 8 balanced or unbalanced TRS phone jacks are provided on the rear panel for direct input, and an additional 8 analog or digital inputs can be provided via an optional Mini-YGDAI expansion card plugged into the AW2400 expansion slot. With all 16 inputs available you can even record 16 tracks simultaneously when recording in 16-bit mode, or you can record up to 8 tracks simultaneously in 24-bit mode.
For 16-bit recording and playback the Yamaha AW2400 recorder section offers a total of 24 tracks, or 12 tracks for 24-bit recording and playback. You also have 8 virtual tracks per physical track ” that's 26 (24 + stereo) x 8 in 16-bit mode or 14 (12 + stereo) x 8 in 24-bit mode. That's plenty of capacity for alternate takes or arrangements. Any of the mixer's inputs can be easily patched to any of the recorder's tracks for maximum recording flexibility. When the TRACK 1-12 or 1316 mix layer is selected the faders adjust playback level from recorder tracks 1-12 or 1316, respectively.
Effects for recording, mixing, and mastering
With the AW2400 you get a stunning range of top-class effects built right in! There's a large selection of reverb, delay, modulation, and pitch type effects. There are amp-simulator based guitar effects that let you get great guitar sound without having to actually mic a guitar amplifier, and processing presets specifically designed for mastering that can help to bring the sound of your overall mix up to professional level. What's more you have 4 independent effect processors with corresponding sends and returns so you'll have enough processing power on-hand for just about any situation.
4-band EQ and dynamics control
With the AW2400 you have complete dynamic control over each track with extremely versatile 4-band equalization, plus independent compression and gating capability on every input channel and recorder track.
Pitch-perfect vocal tracks
When a song has vocals, you want the vocal track to sound as good as you can possibly make it. Since singers are human the occasional off note is to be expected, but with the AW2400 Pitch Fix function that won't mean discarding an otherwise excellent track. Pitch Fix can effectively "repair" notes that are a bit sharp or flat without leaving digital artifacts.
From song to CD
Once youve recorded, mixed and mastered your musical creation you can burn it directly to CD right in the AW2400. A built-in high-performance CD-RW drive can be used to create audio CDs that will play on any standard CD player, or you can use it to make CD data backups of your song data so that it can be reloaded and remixed or edited at any time.
All the I/O you could ask for
Unlike many all-in-one audio workstations the AW2400 provides a full complement of 8 balanced XLR connectors for microphone or line input, as well as 8 TRS phone jacks for either balanced or unbalanced line input.
Switchable phantom power is provided for the XLR inputs so you can use studio-grade phantom-powered condenser microphones in order to capture superior sound right from the source. Insert patch points on inputs 1 and 2 allow insertion of external processing gear. Direct digital stereo input and output capability is provided via coaxial S/P DIF input and output connectors.
In addition to the main stereo and monitor outputs, the AW2400 also features 4 OMNI OUT connectors that can be assigned to output signals from just about anywhere in the system for additional signal feeds wherever they might be required. When you need more inputs and/or outputs ” analog or digital ” you have an excellent range of Yamaha Mini-YGDAI expansion cards from which to choose.
The AW2400 allows full parameter control via MIDI commands, so you can record scene changes as well as control changes from the AW2400 to a MIDI sequencer, for example, and then reproduce the recorded operations precisely when the sequence is played back. If you'll be using the AW2400 with MIDI gear such as a Yamaha MOTIF ES series synthesizer, the AW2400 includes a number of control templates that instantly set it up for convenient remote controls from the synth's keys and encoders.
HS80M 8" Powered Studio Monitors
120-watt, biamped reference monitor with an 8" neopropylene woofer and 1" tweeter. Designed to deliver an honest mix, the HS80M has a flat 42Hz-20kHz frequency response. Room control and frequency response switches allow custom tailoring of the monitor's response, making it perfect for all types of recording and multimedia applications. Enclosure is constructed of high-quality MDF material and feature a multilayer finish that minimizes resonance.
MXL 992 Large-Diaphragm Condenser Mic
Delivers the dynamic range required for the most demanding applications. It has an airy, open sound with low self-noise essential for accurate digital recording. 20Hz-20kHz range. 10dB switchable attenuation. Selectable -10dB low-frequency roll-off. Large brass enclosure. Custom wired internally with premium Mogami cable. Includes deluxe carrying case and custom-designed shockmount.
MXL 993 Condenser Mics Stereo Pair
Using transformerless FET circuitry and gold diaphragm capsule design, the 993 delivers the dynamic range required in the most demanding instrument microphone applications. It has a silky, open sound with a wide dynamic range essential for accurate, instrument recording. With a 20Hz-20kHz frequency range, 10dB switchable attenuation, selectable -10dB low-frequency roll-off, and large brass enclosure, the MXL 993 is perfect for guitar and overhead drum miking. Includes deluxe carrying case and mounting clips.
BBE 362 Sonic Maximizer
The BBE 362 Sonic Maximizer gives your sound the clarity and volume you've been searching for. Unbalanced 1/4" ins and outs. Dual channel with ganged process and low contour controls. Threshold control. Bypass switch for comparison of processed and unprocessed signals. +16dBu headroom. The BBE 362 Sonic Maximizer is ideal for use in pro and semi-pro sound reinforcement, mobile DJ systems, discos, and making cassette copies.
The BBE Process”"What it Is"
Loudspeakers have difficulty working with the electronic signals supplied by an amplifier. These difficulties cause such major phase and amplitude distortion that the sound reproduced by the speaker differs significantly from the sound produced by the original source.
In the past, these problems proved unsolvable and were thus relegated to a position of secondary importance in audio system design. However, phase and amplitude integrity is essential to accurate sound reproduction. Research shows that the information which the listener translates into the recognizable characteristics of a live performance are intimately tied into complex time and amplitude relationships between the fundamental and harmonic components of a given musical note or sound. These relationships define a sound's "sound".
When these complex relationships pass through a speaker, the proper order is lost. The higher frequencies are delayed. A lower frequency may reach the listener's ear first or perhaps simultaneously with that of a higher frequency. In some cases, the fundamental components may be so time-shifted that they reach the listener's ear ahead of some or all of the harmonic components.
This change in the phase and amplitude relationship on the harmonic and fundamental frequencies is technically called "envelope distortion." The listener perceives this loss of sound integrity in the reproduced sound as "muddy" and "smeared." In the extreme, it can become difficult to tell the difference between musical instruments, for example, an oboe and a clarinet.
BBE Sound, Inc. conducted extensive studies of numerous speaker systems over a ten year period. With this knowledge, it became possible to identify the characteristics of an ideal speaker and to distill the corrections necessary to return the fundamental and harmonic frequency structures to their correct order. While there are differences among various speaker designs in the magnitude of their correction, the overall pattern of correction needed is remarkably consistent.
The BBE Process is so unique that 42 patents have been awarded by the U.S. Patent Office.
Audio-Technica ATH-M50 studio monitor headphones
With the ATH-M50 professional studio monitor headphones, Audio-Technica has achieved an exceptionally accurate response and long-wearing listening comfort. Designed especially for professional monitoring and mixing, these studiophones feature an efficient collapsible design for space-saving portability and storage. Circumaural ear pieces swivel 180 for easy one-ear monitoring and luxuriously padded ear cushions create an outstanding seal for maximum isolation. The adjustable headband is generously padded for ultimate comfort during long mixing sessions. A coiled cable at the left earpiece terminates to a gold-plated mini plug with included screw-on 1/4" adapter.
Audio-Technica's sophisticated driver technology and superior components deliver exceptional power handling and very high SPL capabilities while maintaining clarity of sound throughout their extended range, with deep, accurate bass and outstanding high-frequency extension. The headphones feature propriety large-aperture drivers with neodymium magnet systems for ultra-efficient signal transfer.
- Yamaha AW2400 24-track audio workstation
- 2 HS80M 8" powered studio monitors
- MXL 992 large-diaphragm condenser microphone
- MXL 993 condenser microphones stereo pair
- BBE 362 Sonic Maximizer
- Audio-Technica ATH-M50 studio monitor headphones
- 2 - 10' LiveWire Advantage Series 1/4" straight instrument cables
- 2 - 9.8' (3m) Monster Cable Studio Link 500 Interconnect TRS (M) - TRS (M) cables
- ProMedia 80-minute 52X 50-pack CD-Rs
- 2 ProLine tripod boom microphone stands
- 4 - 20' LiveWire microphone cables
We've put it all together for you. All you have to do is setup and start recording your next CD!
Reviewed by 1 customer
Displaying review 1
Yamaha exemplifies quality and durability. I know this because I once owned, used, and abused the Yamaha O1V Digital Mixer. It was user-friendly!!!! Yamaha's construction actually withstood a fearce beating from a crazed ex-girlfriend; she used my '77 Les Paul Standard as a sledge hammer and gave the O1V Hell!! The O1V took it like a champ and suffered no internal damage. It did require a professional to reshape the outer shell/chassis for the semi-automated flying faders. Yamaha RULES!!!