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PRODUCTION PARTNER 

09/2015 

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3

The TF1 has 32, the TF3 and TF5 40 each. The number of
faders and of analog inputs also differs. The TF1 has 16, the
TF3 24 and the TF5 32. 

The analog outputs on the rear panel are defined as omni outs
and can be Matrix-assigned to any desired sources.

There is no matrix on the inputs. Here the assignment equals
the analog inputs of the desk or the respective USB channels.
The optional Dante card adds a potential Dante channel. 

Further rear panel connections are two stereo line-level inputs
which are assigned to the two stereo input channels of the
console. Alternatively you can also assign the stereo playback
from the USB flash drive on the front panel or the USB chan-
nels 33 and 34 of the rear USB host for recording. 

Direct recording to a USB storage device is only possible in
dual channel mode and only via the front USB port. This port
can also be used as a direct connection with an iPad that then
can be used as a two-channel player or recorder. If you want
to record all 32 signals or play them back you will have to use
a computer with suitable software, connected via one of the
host ports. 

Coming soon:
Dante network and Stage Box

Today’s audio world is digital: Streaming services, music
servers, networked devices – digital technology is everywhere.

The interfaces to acoustic signals, i.e. converters, though, are
still analog. Microphones constitute one side of the signal
chain, speakers the other. Microphones convert an acoustic
signal into electric signals of very low voltage, speakers then
reverse the process, needing high voltages and lots of power
to reconvert electric signals into audible sound pressure.

So, what’s that got to do with digital networks? The low voltage
output of microphones and the high power speaker signals
have one common enemy: long cable runs causing interfer-
ences and signal losses.

So, the overall aim is to transfer signals from the analog to the
digital domain as soon as possible and to reverse this process
as late as possible. 

Aux mixing 

for aux bus 1 performed using the Stage Mix app

 (figure  3)

Connector panel 

with analog inputs and outputs, card slot, net-

work and USB connector; DANTE can be integrated using a NY64
card

Stage box, 

in 2015 still a preview model with Dante interface and

remote head amps

Summary of Contents for TF Series

Page 1: ...ies Yamaha s Starter Series comprising three digital desks features 1 knob and GainFinder thus offering new solutions ensuring fast and safe handling Text and Measuring Anselm Goertz Photos Dieter Stork Review from Issue 9 2015 ...

Page 2: ...n 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 ...

Page 3: ...ack you will have to use a computer with suitable software connected via one of the host ports Coming soon Dante network and Stage Box Today s audio world is digital Streaming services music servers networked devices digital technology is everywhere The interfaces to acoustic signals i e converters though are still analog Microphones constitute one side of the signal chain speakers the other Micro...

Page 4: ...ainst malfunc tions and failures Not least because of these reasons the Dante audio network manufactured by Audinate was chosen as the native network used in the QL and CL series as well as in the corresponding stage boxes The simplest configuration in combination with a TF QL or CL mixer consists of an I O box connected to a console by using just a simple network connection and nothing else In cas...

Page 5: ... mixing desk a preamp is of the same importance as in analog ones as its task is to get everything from weak microphone signals to high line levels deriving from keyboards or DI boxes to the same overall level The preamps in TF consoles offer a very wide gain range from 6 dB to 66 dB Zero dB then stands for the maximum volume of an analog signal with a 26 dBu level As the preamp is fully remote an...

Page 6: ...ate but at the maximum gain of 66 dB 86 dB can still be achieved Based on these figures the equivalent input noise will be 126 dBu The corresponding interference spectra figure 6 show a clean white noise Including the additional 20 dB gain the over all noise level is 65 respectively 41 dBu If you then subtract the 20 dB the corresponding values will be 85 and 61 dBu The maximum output voltage at the...

Page 7: ...y great 110 dB 0 0003 Reaching these good values is a bit more difficult when the preamp is confronted with higher gain settings here 60 dB Still the figures are nevertheless quite good compared to measuring at 0 dB You ll find the cor responding curves in figure 9 In addition to the absolute distortion values their spectral struc ture is quite interesting The desired harmonic distortion spec trum sh...

Page 8: ...e really good DIM curves for 0 and 60 dB preamp gain are shown in figures 12 and 13 The excel lent minimum of 85 dB in both cases was measured at ap proximately 10 dB below the maximum volume So again really outstanding results Signal processing and structure Digital equipment has the advantage that the order of the blocks of signal processing can be chosen quite flexibly The same goes for the taps ...

Page 9: ...s features an adjustable 20 Hz to 600 Hz high pass filter and a 4 band fully parametric EQ which can either all be defined as Bell filters or alterna tively one as high or one as low shelf filter The new user inter face for the filter section has turned out great You can enter all data directly using the physical encoders or just use the touch panel controls one or two finger mode Using one finger you ca...

Page 10: ...or reaction to a sine burst with time constants of 50 and 500 ms for attack and release The threshold level of 20 dB here refers to 0 dBfs in the dig ital domain The two FX buses and if required also the six Stereo Aux busses numbers 9 to 20 can be fed from all inputs All respec tive masters comprise four band fully parametric EQs and sev eral effects you will have varied reverb programs delays ch...

Page 11: ...mes louder and louder For inputs there is a preset Vocal filter with a 140 Hz high pass filter and a slight cut of the low mids and a boost of the higher frequencies In addition to the use of filters dynamic processing constitutes the most important function of a mixing desk Especially LIVE music often generates a large dynamic range meaning you would wish a certain compression would take place Also ...

Page 12: ...ers as well as remote apps for iPad and iPhone thus making them really convenient and very useful for technicians and musi cians Yamaha experts have also deliberated thoroughly about how to facilitate getting started for beginners That is why they have included ample libraries with predefined channel settings for all kinds of instruments and established microphone mod els GainFinder for the inputs ...

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