For streamers, not only sound quality but also the operability of streaming equipment are essential elements.
Yamaha’s audio interface, the “AG Series“, has been a popular choice as a standard streaming device since its launch in 2015, having both qualities.
What kind of thoughts and innovations were behind the AG Series being supported for many years?
As we celebrate the 10th anniversary of the first-generation model, we spoke with two individuals who were responsible for the AG and ZG series, looking back on the evolution of the series.
What is the AG Series?
The AG Series is an audio interface for streamers that consolidates the necessary functions for live streaming and music production into a compact body. Since the launch of the first generation model in 2015, it has been widely used at personal streaming sites. Its design, which includes a loopback function and DSP effects for mic and instrument inputs, paired with an intuitive user interface, makes it a popular “first-choice” among many beginners.
The Two People We Spoke To
Mizuyuki Shirai
Yamaha Corporation
Creator & Consumer Audio DivisionGlobal Marketing & Sales Department
Content Sharing & Communication Group Director
Responsible for the product planning of the AG Series and AG MK2 Series launched in 2015.
Masafumi Kanada
Yamaha Corporation
Creator & Consumer Audio DivisionGlobal Marketing & Sales Department
Content Sharing & Communication Group Manager
Responsible for the product planning of the ZG Series released in 2022, targeted at game streaming.
The Origin of the AG Series Lies with Streamers
── First, congratulations on the 10th anniversary of the AG Series!
Both
Thank you very much. It’s all thanks to our users.
── As an audio interface for streamers, the AG Series has firmly established itself as a staple. Can you tell us about the background of its launch?
Mr. Shirai
The concept was born around 2013, just as live streaming began to spread globally. Our development team was considering successors to small mixers and wondered, “Who even uses small mixers?” We found that many streamers were starting to use them. However, we had little information internally at that time, so we went to listen to people from streaming platforms to understand what’s going on. We started from the level of “What is live streaming?” but as we gathered information, we felt that Yamaha could provide solutions. This understanding led young team members to spearhead the movement that became the start of the AG Series. We thought of combining our experience with mixers and audio interfaces to propose a new form.
── By streamers, did you mean YouTubers?
Mr. Shirai
Those on Niconico Live, commonly known as live broadcasters. At that time, they were trying to manage with audio interfaces and the stereo mixer function of Windows OS, facing quite a struggle. Thus, we thought of providing a proper solution for those streaming via computers.
── I see. Were there similar products from other companies back then?
Mr. Shirai
There were several audio interfaces used for live streaming, but upon investigating, we found many lacking features. While we weren’t the first, we really wanted to release a “definitive version” to cover all these needs.
── What was the internal reaction like?
Mr. Shirai
While young members were positive, there were also reactions like “What’s this?” As many worked on large-scale venue mixers like those used at Tokyo Dome, the need for streaming equipment wasn’t clear to everyone.
── So was it difficult to get approval for the project?
Mr. Shirai
Indeed. We had no prior instances of directly hearing user feedback for consumer products, nor sharing ideas during development with outsiders. So we started from user interviews. Returning to the office, we presented the feedback to show the real problems people were facing, proposing a solution based on these voices. That’s how we received initial approval to proceed.
── Did you also interview live broadcasters for your development?
Mr. Shirai
We had no direct contact, so we screened broadcasts from Niconico Live in meeting rooms, observing and gathering information through comments. Asking things like, “What setup do you use?” or “What equipment do you have?”
── So live broadcasters answered without knowing it was Yamaha’s development team! What needs became clear as you listened?
Mr. Shirai
Until then, our products catered to users with acoustic knowledge. However, streamers didn’t necessarily have such expertise. Initially, we envisioned many knobs like in the MG Series, but feedback like “Just seeing all the knobs makes me nauseous” or “I feel compelled to tweak them all” made us rethink our design philosophy.
── That’s connected to the intuitive operability of the AG Series.
Mr. Shirai
Exactly. We minimized knobs to essentials like volume or effects, focusing on intuitive operation by incorporating sliders. This concept borrowed from broadcast operation boxes. We even joked about using “Train Simulator” controller handles but decided against it due to size constraints. Adding icons to the control panel for clarity was also a first for the AG Series.
Mr. Shirai
In terms of sound quality, it features a built-in DSP (Digital Signal Processing), allowing users to adjust sound quality with a single button even without acoustic knowledge, achieving a certain level of sound quality.
── Not just intuitive operability, but the sound quality seems to be meticulously designed as well. Were there any challenges during development?
Mr. Shirai
Yes, the need to operate on USB bus power was a critical point. Since the power supply from USB was limited to a maximum of 2.5W, fitting everything within that limit was quite challenging. I remember the hardware design team repeatedly adjusting circuits, asking, “Can we make it work if we cut this part?” and nearly in tears as the board got densely wired.
Since creating normally wouldn’t be sufficient at all, we made detailed adjustments like reducing the three planned LEDs to two or limiting the current needed for the phantom power supplied to microphones.
── I’m surprised to hear that such detailed adjustments were made.
Mr. Shirai
Additionally, during development, we decided to add the AG03-MIKU (Hatsune Miku collaboration model). Ensuring the small dot representing the character’s nose remained during the factory printing process was incredibly difficult. Our mechanical design team magnified Hatsune Miku’s face on the screen to determine how to print it without the nose disappearing, ensuring mass production. These unexpected tasks increased both the effort and time required for development.
AG03-MIKU
Mr. Shirai
Towards the end of development, when we showed a prototype to customers, they requested a switch to mute monitor audio. We were like, “Really, at this stage!?” (laughs). It led to many heated discussions that I remember vividly.
── Targeting people without expertise in acoustics must have affected pricing as well, right?
Mr. Shirai
That’s exactly right.
── To set a price that makes it accessible for beginners, did you face any challenges in selecting functions and components?
Mr. Shirai
Indeed, making something affordable is tough. At the conceptual stage, everything seems possible and exciting; we get carried away with ideas like, “We can do this or that.” But when we calculate the costs as-is, we usually go over the budget, and from there, the real cost-cutting begins. Sometimes it means entirely removing certain functions, and cost reduction for parts is an everyday occurrence. The AG series minimized new parts by reusing components from the MG series.
Mr. Kanada
On the flip side, it means there are many areas where we didn’t compromise, thanks to all these efforts. We brought the warranty of the MG series directly to the AG series.
Mr. Shirai
We’ve brought the quality of professional audio equipment just as it is. Sound quality remains the ultimate stronghold we can’t abandon.
── After considerable struggles, the first-generation model was launched in 2015. Did you feel any confidence that it would succeed?
Mr. Shirai
Compared to other products at the time, our solution was quite well-rounded, so we launched it with a sense of “Look at this!” However, since the category itself wasn’t yet well-known, the initial reaction was tough. It was quickly understood by those familiar with streaming, but it took some time to be recognized by others.
AG03
── When did you start feeling a positive response?
Mr. Shirai
About two years after its release. The performance of smartphones improved, and platforms for live streaming via smartphones began to spread. There were limitations in sound quality when using just a smartphone, but more users started noticing a clear difference when using the AG series, leading to a rapid spread.
── Regarding the evolution of the AG series over the past decade, what advancements were made in the second-generation MK2 models?
Mr. Shirai
The main changes include adding a microphone mute switch, supporting USB Type-C, and introducing a black model. Still, we decided it was best not to change the operability that was well-received in the first-generation model, so the overall design intentionally follows the original. We focused on enhancing the internal sound quality, internally calling this the “inner muscle strengthening.”
The first-generation model faced a limit of 2.5W of power supply due to the constraints of USB bus power, but with MK2, we increased it to 4.5W. This allows for significant sound quality improvements inside while maintaining the familiar operation feel.
AG03MK2
── At the time of release, there were various changes in the streaming industry. With the market booming and streaming styles diversifying, did the concept of the AG series change?
Mr. Shirai
The platforms for live streaming expanded from computer-based ones like Niconico to those utilizing smartphones. However, I believed there was no need to change the core concept of the AG series, which is “usable by anyone,” so we made no significant changes in our basic direction.
── Have user demands changed over these ten years?
Mr. Shirai
I think it has changed quite a lot. Initially, adding background music wasn’t emphasized as much, but now it has become the norm, and requests for effects like “I want to add reverb” or “I want to use a voice changer” have increased. In fact, the AG series might have made reverb standard. It feels like the things people want to do are rapidly increasing.
Not only in terms of functionality, but the way sounds are handled has become very complex. Previously, it was simple—sound would go into the mixer and come out from it. Now, alongside the voice from the microphone, there are also game sounds and voice chats from the PC, so hardware and software sounds are mixed.
Furthermore, these sounds need to be sent for distribution, to the person you’re talking to, and for yourself to monitor, which has highly complicated the routing process.
Mr. Kanada
The online interactions using voice chat represent a demand that didn’t exist before. The previous AG06 was envisioned for two people in the same location, communicating offline while streaming, but now cases of online collaborative streaming are increasing.
── That’s right. Within your company, have more members become stream-savvy recently?
Mr. Shirai
Yes, including Mr. Kanada, we have more members who stream themselves.
Mr. Kanada
Indeed (laughs)
── In addition to the products, is there a desire to support the streaming culture itself?
Mr. Shirai
Absolutely. Yamaha brands itself as a “culture-creating company,” and besides just making and selling products, we value the perspective of supporting the streaming culture itself.
── Streaming styles are diversifying rapidly, so how is this cultural expansion perceived within your company?
Mr. Shirai
We initially focus on music streamers, but from there, it expands to gamers and VTubers. Internally, we express this as “spreading out.” It’s not just focused on music; we’re noticing various movements like, “Hey, this kind of person exists now,” or “These types of streamers are emerging.”
ZG Series Dedicated to Game Streaming
── Speaking of which, as the AG series spread to gamers, this led to the creation of the ZG series for game streaming, right?
Mr. Kanada
The ZG series is designed so gamers can easily handle everything with just one PC. Originally, many users used the AG series specifically for game commentary and voice chatting. Particularly lately, communication within games has become more important, and we wanted to address that need thoroughly.
We only included the inputs and outputs necessary for streaming, voice chat, and gaming, and we streamlined the input/output configuration.
ZG02
── In streams where the voice is the main feature, like with VTubers and live broadcasters, sound quality is crucial. How did you consider this for game streaming?
Mr. Kanada
Regarding game audio, we actually consulted with game developers. Many of them wanted the audio to be reproduced as per the sound engineer’s intent, so we’ve designed it with a focus on faithful reproduction of the original sound.
── It’s crucial that both the game audio and communication audio are audible simultaneously. Can users adjust the balance on their end?
Mr. Kanada
We’ve included a feature that, through virtual surround, achieves external localization, making game sounds and voice chat easier to distinguish simultaneously. Users can freely toggle this feature on or off.
Additionally, while the AG series made individual volume balance adjustments difficult, the ZG series allows for this.
── It seems like the design fully caters to the needs of gamers.
Mr. Kanada
I was an AG user myself, so I based the design on my own experiences.
── So, it’s the result of really honing in on what you truly want. Aside from the ZG series, is there potential for other models that cater to more specific targets?
Mr. Shirai
It’s not zero, but it depends on whether the core part of the product changes.
If optimizing the product specifications for the target means it cannot do game streaming or song streaming, then there’s a possibility of dividing the models.
Otherwise, we want to go in a direction that covers various uses with just one unit.
How to Choose the Right Device for You? Choosing the AG Series
── For those just starting streaming, you might be torn between AG03 and AG06. Who would you recommend each to?
Mr. Shirai
For those who want to do ASMR streaming or are considering immersive singing and playing streams, AG06, which allows stereo recording, is recommended. AG03 can also be used for singing and playing, but AG06 is more suitable in terms of operability and input flexibility.
AG03 is favored for having faders, which make intuitive operation easy.
Mr. Kanada
The sound quality itself is the same grade for both AG03 and AG06. If you’re streaming alone, AG03 is sufficient, but if you want to have a talk with two people or invite a guest home for streaming, AG06 with two microphone inputs is more flexible.
Mr. Shirai
For podcasts and such.
Mr. Kanada
That’s right. AG06 is also recommended for those who might have complex routing.
Mr. Shirai
For those who do singing streams and want to separate the mic for singing and talking, with AG03 you’ll need to change the settings every time. However, with AG06 you can plug each into different channels and just switch the mic.
── I see. It seems like the choices can change based on your preferences and streaming style.
Tell us about the AG01, a model with an integrated microphone. This one seems to have a completely different concept from those in the past.
Mr. Shirai
Exactly. AG01 is designed entirely for entry-level users. Many who have just started streaming bought AG03 upon recommendation from listeners but are at the “what do I do about a mic?” stage. It’s hard to know which mic is best or what phantom power is.
── That’s a tough one to understand.
Mr. Shirai
So, the idea was to have everything integrated from the start so it’s ready to use as soon as you plug it in. This is the concept behind AG01. It’s all-inclusive to enable a smooth start.
AG01
── I see. AG03 is also an entry-level model, but this seems to cover the “first step” even before that.
Mr. Shirai
Yes, if your focus is on casual talk streams, AG01 is perfectly sufficient. You can add reverb and play background music from a smartphone or other device. You can also stream instruments using a conversion cable. Almost everything that AG03 can do is packed into this.
── That makes sense. It seems like many people might be torn between the AG03 and this one.
Mr. Shirai
The AG03 is ideal for those who want to choose their own microphone freely. It’s for people who are more particular about sound or want future expandability. On the other hand, the AG01 is the smoothest option for those who just want to get started and don’t want to get stuck in setup.
Mr. Kanada
If you want to start immediately, aren’t particular about the microphone, and just want to leave it to Yamaha, then trust and buy the AG01.
── If you trust Yamaha, you can’t go wrong!
So, how has the AG08, released in 2023, been enhanced compared to the previous models?
Mr. Shirai
The AG08 is designed specifically for streamers. It’s especially rich in streamer-oriented channels and has several key features.
The first feature is the standard built-in voice changer function that works without lag. Second, in addition to reverb, delay can also be used independently, allowing for more detailed sound effects. It’s important to note that they can be used simultaneously.
The third feature is the preset function. You can store up to four settings for different uses such as talking, singing, and voice changing, allowing you to switch instantly according to the scene.
Additionally, it has a sound effect trigger function, allowing you to play sounds like a big reveal with a single touch.
Furthermore, this is slightly technical, but the AG08 is recognized as three systems (e.g., AG08 3-4, AG08 5-6 channels, etc.) when connected to a PC, allowing you to handle BGM, game sounds, voice chat sounds, and more separately with different apps.
AG08
── So for someone who streams games, has chat streams, and suddenly bursts into song midway, they can pre-set each setting, eliminating the need for constant adjustments.
Mr. Shirai
Exactly. The key is being able to manage everything intuitively on this device instead of making changes on your PC or streaming software each time. You can switch the audio being broadcast instantly, which also reduces the likelihood of troubles during streaming.
── It’s optimized not only for functionality but also for audio switching and trouble prevention as well. Naturally, the next concern would be its audio quality.
Mr. Shirai
The sound quality is top tier within the AG series. It uses the same DSP (Digital Signal Processing) as professional mixers, especially improving the texture of reverbs and other spatial effects, making them more natural and smooth. The analog components are also refined, clearly enhancing the sound quality of vocals and instruments themselves.
── So the sound quality is top-notch. Are there any other unique features of the AG08?
Mr. Shirai
It has two headphone jacks, allowing each person to listen to their own monitoring sound when streaming with two people. Previous models had only one, so this is a significant change.
Mr. Kanada
Lately, podcasts and multi-person talk streams are on the rise, so it’s becoming easier to cater to such uses.
Mr. Shirai
Also, it’s about managing audio balance. In past AG series, the sound for broadcasting and the sound you hear in your monitor were the same. For example, if your voice is at 10 and the BGM is at 8, it would broadcast in the same balance. But the AG08, being a digital mixer inside, allows you to separate and adjust the balance for broadcasting and personal use via an app.
── In what situations does this separation of use come alive?
Mr. Shirai
For instance, during singing streams, if you’re monitoring your voice while streaming, you might unknowingly increase your voice volume, finding it wasn’t intended when reviewing the archive.
The AG08 allows you to separately adjust the balance of what you hear and what you broadcast, preventing such mismatches.
Mr. Kanada
Even professional artists differentiate between the monitor sound on stage and the sound directed at the audience.
── With the AG08, you can achieve a professional-like streaming setup with just one device. Is there an increasing demand for such needs?
Mr. Shirai
Indeed. Streamers tend to evolve, gradually updating their equipment and setups. Meanwhile, many are combining effects like sound triggers and voice changers separately. The AG08 was created to meet the demand of those aspiring for higher goals by consolidating essential functions into one device.
── Thinking this way, choosing a model is less about comparing specs on a product page but more about working backward from what kind of streaming experience you want.
Mr. Shirai
Exactly, I hope people can choose their equipment that way.
Let Creators Bring Out Their Personality
── Earlier, you mentioned, “sound quality is the last stronghold that can’t be compromised.” From a professional standpoint, what does “good sound” mean? Some might feel that if it’s just about delivering voice through streams, you don’t have to be that particular about sound quality.
Mr. Shirai
When the sound quality is poor, people notice a certain roughness or scratchiness. But when the sound is natural, no one pays attention to it. I believe that’s what qualifies as “good sound”. Essentially, it’s about the streamer’s content being effectively communicated—their voice naturally reaching the audience.
── So not being distracted by noise equates to “good sound.”
Mr. Shirai
Exactly. It’s about the audience being able to focus on the streamer, which indicates the quality of the sound. You can easily tell if someone is streaming with just a smartphone’s built-in mic. There’s a lack of depth, a kind of flatness. But using an interface or mic gives the voice definition, even if it’s not the most handsome voice, making it clear and easier to understand. That makes a significant difference.
── Some users say Yamaha has a “sparkling” sound, while other brands are described as having a “warmer” tone. Are these characteristics intentionally designed?
Mr. Shirai
At Yamaha, we generally focus more on faithful sound reproduction rather than “crafting” the sound. Much like the professional mixers used at concerts, our policy is to output the sound exactly as it was input. Rather than giving it a particular character, we aim to provide a neutral base that makes it easy for creators to shape their own sound.
Mr. Kanada
When it comes to tone and sound quality, our team is quite particular. If we add too much character, there’s a risk that the sound a creator intended gets colored by Yamaha’s signature instead. When we say “faithful to the original,” we mean something closer to “clear” or “transparent.” That philosophy is also central to our UR series, an interface designed specifically for music creators.
Mr. Shirai
Exactly. When it comes to tone, we’ve long embraced the idea of a “white canvas” or a “transparent sound.” The goal is to avoid adding anything unnecessary to the original.
── What do you mean by “transparent sound”?
Mr. Shirai
“Transparent sound” refers to “clear sound” or “uncolored sound,” which means outputting sound as faithfully as possible to the input.
Mr. Kanada
That might be why it gives the impression of being sparkling.
── I see.
Mr. Shirai
So, negatively speaking, it’s sometimes called sound without character, but actually, that’s the ideal state. Our top priority is to support the creativity of our customers.
Mr. Kanada
I believe individuality should come from the creators.
The Future of the AG Series with Users
── Could you share your outlook on the future of the AG series?
Mr. Shirai
As I mentioned earlier, I feel that the user base has changed quite a bit. The current AG series specifications were conceived a decade ago, and we have largely maintained them for the second generation.
However, after 10 years, I feel it’s about time to revisit the concept itself. For example, since it still has a lot of knobs, we want to rethink the user experience from scratch in the next development phase.
── Thank you. Now, could you say a few words to those considering using the AG series?
Mr. Shirai
I just want people to use it however they like—iidene.
── What does “iidene” mean?
Mr. Shirai
It’s a word from the Enshū dialect in Hamamatsu. It means something like “It’s totally fine” or “No problem” (laughs). We create our products so that a wide range of people can use them however they want, so we never impose rules like “You have to use it this way.”
Our products go through multiple layers of design testing and quality assurance. They don’t break easily, and they’re not the kind of tools that fall apart if used differently. I want people to feel free to use them without worrying—iidene.
── With so many jacks lined up, I worry about shorting if I insert it wrong, but that’s not the case?
Mr. Kanada
You can fiddle with it as much as you like, and there are no rules that say the gain must be set here. Please find the point that suits your voice while listening.
Mr. Shirai
Yes, indeed. As far as sound is concerned, we deliver with confidence, so you can rest assured. That’s why we would be delighted if each user could fully express their creativity.
Mr. Kanada
Mistakes in usage will not lead to breakdowns, and if you have trouble with the settings, resetting to the factory settings will return it to the initial configuration.
── Since it’s the 10th anniversary, could you say a few words to those who have been using it for a decade?
Mr. Shirai
First and foremost, thank you. I hope it hasn’t broken much.
We will continue to plan new products, so please continue to support us for the next 10 years.
Mr. Kanada
It is because of those who continued to use it that the AG series has become a staple. The quality of AG06 and AG08 was improved thanks to that support. As the streaming culture continues to thrive, we can continue making new products. Thank you for your continued love and activity.
Mr. Shirai
Yes, yes. When beginners choose, they seem to heavily rely on whether those around them are using it or are familiar with it. That’s more thanks to our users who continue to use it than anything we’ve done. It’s truly appreciated.
Thanks to the system of live streaming, people who couldn’t previously engage can now express themselves online, which is fantastic.
Recently, I saw a pianist who was bedridden and streaming their piano performance while lying down. Seeing that, I felt it was worth creating.
Mr. Kanada
It’s truly a blessing to have been able to assist in creating a new stage for people who might not have had one before.
Mr. Shirai
Absolutely. The expanding scope of activity is really a wonderful thing, and we want to continue supporting those endeavors.
── You mentioned it was sometimes called “sound without character,” but today I felt the conviction behind that transparent sound.
