Yamaha’s AG08 continues the flow of new live streaming and podcasting mixers

Yamaha has unveiled the AG08, a new flagship live streaming mixer for podcasters, YouTubers and, um, Twitchers (is that a thing?) Building on the blueprint laid-out by the existing second-generation AG mixers, this offers eight channels of live streaming action and several new features.

These include the addition of six pads that can be used to trigger your favourite sound effects, and there’s also a voice changer with the usual gender-switching, robot and other effects. In fact, there are five DSP effects in total, and you can switch between effect presets on channel 1 with the dedicated buttons.

A priority ducker is here, too - this ensures that channels 1 and 2 are always audible by attenuating other signals relative to their input levels. The Maximizer, meanwhile, is designed to boost the gain on the entire mix.

Elsewhere on the AG08, the signals from multiple computer apps or analogue line inputs can be assigned to three faders (for Channel 3/4, 5/6, or 7/8) so you can control their levels in real time during recording or broadcast sessions.

Connections include two phantom-powerable inputs for condenser mics and 4-pole mini I/O for Android devices. Two independent headphone monitor channels are included, too, and power can be drawn via the supplied adapter or USB.

Live streamers and podcasters are currently spoilt for choice when it comes to new hardware. Recent additions to the market include the gaming-focused Roland Bridge Cast, the Røde RødeCaster Pro II,  and the IK Multimedia iRig Stream Mic Pro.

Available in black or white, the Yamaha AG08 looks set to cost $630/$615 and is expected to land next month. Find out more on the Yamaha website.

Ben Rogerson

I’m the Deputy Editor of MusicRadar, having worked on the site since its launch in 2007. I previously spent eight years working on our sister magazine, Computer Music. I’ve been playing the piano, gigging in bands and failing to finish tracks at home for more than 30 years, 24 of which I’ve also spent writing about music and the ever-changing technology used to make it. 

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