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PRODUCTION PARTNER
09/2015
Test
| Yamaha TF
Due to the favorable price development of DSPs, converters
and other electronic components, lower-priced digital mixing
desks have now become available, too. So it is even more im-
portant to offer the less experienced user a user interface that
can be handled easily and provides a clear and simple layout
of its rather complex functions. This is what Yamaha had in
mind when it created the novel TF series featuring as many
standard functions as possible to be accessed directly and a
distinct channel assignment. A real innovation utilized in the
TF series is the ”1 knob“ function for EQs and compressors en-
abling the user to use just the one knob instead of adjusting
lots of single parameters. In addition to that, there are libraries
containing presets for certain applications and microphone
types (the latter created in cooperation with Audio-Technica,
Sennheiser and Shure).
So, is the system expandable? Due to cost concerns a perma-
nent integrated Dante audio network interface, which is stan-
dard in the CL and QL series, is not included in our basic ver-
sion of the TF series. For the first time, though, the TF series
features an NY expansion slot allowing the bi-directional
transmission of 64 channels. The old Y-format was limited to
a bi-directional transmission of a maximum of 16 channels and
thus less suited for the network connection of stage boxes.
Perfectly corresponding will be the introduction of the new
Dante card NY64 scheduled in the spring of 2016, featuring a
Dante Brooklyn module suited for setting up a redundant net-
work. Springtime 2016 will also see the launch of the new
stage box Tio1608D with 16 inputs and 8 outputs and, also,
fully remote capable preamps. It will also be equipped with a
primary and secondary network connection and can either be
operated in redundant or in daisy-chain mode with additional
stage boxes.
The user interface is absolutely state-of-the-art now; its huge
color display is fully touch-sensitive and can be operated using
one or two fingers to swipe, rotate, pinch and pull. If you don’t
like that or prefer the precision of an incremental position en-
coder you can, of course, make adjustments or navigate using
the central rotary encoder on the right below the display or
the four user defined knobs. As you can’t connect a gooseneck
lamp you have to make sure that – in dark environments - you
will still be able to identify inactive keys (as they won’t be back-
lit then). For remote control there are the customary apps for
iPads and – in simplified form – for iPhones. The TF StageMix
App offers you a nearly complete remote control of the desk
and can also be used as an expansion to the desk.
The MonitorMixApp is suited for smaller displays and allows
access to the monitor mix via the aux busses for up to 10 ex-
ternal devices. The TF editor, which allows a complete config-
uration of the desk including scenes and presets, is available
for Windows and OS X, as well.
Hardware and Structure
In 2015 the TF series started with 3 consoles, models TF1,
TF3 and TF5. They are basically identical and only differ
when it comes to the number of available input mixing chan-
nels.
Central screen
with one fader block visible in the iPad Stage Mix
app (figure 1)
TF Editor
on an external computer (figure 2)
