Yamaha DM3S 22-Channel Ultra-Compact Digital Mixing Console Studio Monitor Bundle with 2 HS8 8-Inch Powered Studio Monitors

Yamaha DM3S Studio Monitor Bundle: A Complete Mix Room in Two Boxes

This bundle is the front end and the back end of a serious mix room bought together — the Yamaha DM3 Standard 22-channel digital console for routing, processing, and capturing every source, and a matched pair of HS8 8-inch powered studio monitors for hearing exactly what you committed to the recording. The console gives you 16 mic/line inputs, 9 motorized faders, a 9-inch multi-touch screen, and an 18-in/18-out USB interface in a footprint just 12.6 inches wide. The HS8 pair gives you the honest, full-range nearfield reference that production studios worldwide treat as a mixing standard. Track it, process it, and monitor it on gear that won't lie to you — in one purchase.

How the DM3 Puts 22 Channels and a Studio Interface in a 12.6-Inch Console

The DM3 Standard handles 16 mono mic/line inputs, a stereo input, and two FX returns for 22 total mixing channels, with 16 Yamaha mic preamps rated at -126 dBu equivalent input noise — quiet enough for sensitive condensers and clean enough for broadcast dynamics. The 9-inch multi-touch screen drives Yamaha's GainFinder gain-setting workflow, while the single Touch & Turn encoder reaches every parameter the screen exposes. Nine motorized 100mm faders mean your levels are physical and recallable, not buried in a touch menu. 1-knob COMP and 1-knob EQ shape dynamics and tone per channel in one gesture, so you keep your hands on the mix instead of drilling through pages.

18-In/18-Out USB Recording, 2-Track Capture, and DAW Control in One Desk

The DM3 doubles as an 18-in/18-out USB 2.0 audio interface, sending every channel straight into Pro Tools, Logic, Cubase, or any DAW for multitrack recording — and it works the other way too, acting as a hardware control surface for the same DAWs. For quick captures, the 2-track direct-to-USB recorder writes a stereo mix to a USB stick with no computer attached. Two REV HD/REV R3 multi-effects engines supply 18 high-grade effects, and 6 mix buses plus 2 matrices route monitor sends, broadcast feeds, and stems. At 96 kHz with under 1.3 ms of processing latency, the console stays transparent whether you're tracking a band or stem-recording a session.

Why a Pair of HS8 Monitors Is the Mixing Reference Engineers Trust

Each HS8 is a 2-way bass-reflex bi-amplified monitor with an 8-inch cone woofer and a 1-inch dome tweeter, driven by 120 watts of bi-amplification — 75W to the low end, 45W to the high end — so each driver is voiced for its own band with no intermodulation smear. The 38 Hz to 30 kHz range surfaces sub-bass and kick fundamentals that 5-inch monitors miss while preserving high-frequency air for accurate stereo imaging. Mixes balanced on a pair of HS8s translate predictably to earbuds, car stereos, and laptop speakers, which is exactly why they're a fixture in commercial and project studios alike. The HS8 is honest by design — it exposes a bad mix rather than flattering it.

ROOM CONTROL and HIGH TRIM Tune the HS8 Pair to Your Actual Space

No two rooms sound the same, so each HS8 carries a ROOM CONTROL switch that cuts 0, -2, or -4 dB below 500 Hz to tame the low-frequency buildup you get placing monitors against a wall or in a corner, plus a HIGH TRIM switch for +/- 2 dB of top-end adjustment. A LEVEL control with a +4 dB center-click detent makes left/right gain matching and calibration recall quick and repeatable. Balanced XLR and 1/4-inch TRS inputs accept the DM3's outputs directly with no inline adapters — wire the console's main outs to the monitors and your monitoring chain is built.

How the Console and Monitors Work Together as One Studio

The DM3 is where every source comes in, gets gain-staged with GainFinder, shaped with 1-knob COMP and EQ, and routed; the HS8 pair is where you judge the result. Run the console's balanced main outputs to the monitors' XLR or TRS inputs and the signal path is direct and clean end to end. Track to the 18-in/18-out USB interface, mix on faders you can feel, and reference the result on monitors that tell the truth — then capture the stereo print straight to USB. Every link in the chain is accounted for, and every connector lands without an adapter.

For the Producer Building a First Real Studio and the Engineer Upgrading the Front End

The first-timer gets a complete, coherent signal chain — a pro console and the industry-standard 8-inch reference pair — without guessing which monitor matches which mixer. The upgrader stepping off a small USB interface and a pair of 5-inch monitors gains true channel count, motorized recall, and the 38 Hz low-end extension that makes bass decisions trustworthy. The comparison shopper gets the numbers: 22 channels, -126 dBu EIN preamps, 18x18 USB, 120W bi-amped monitors, 38 Hz - 30 kHz. Track, mix, and monitor on a matched studio in one order.