PRODUCTION PARTNER
09/2015
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9
for the aux busses is generated. The signal path of a channel
strip is structured as follows: input selection, digital gain, high
pass filter, 4 band parametric EQ, gate, compressor and DCA
(fader). In Input Select the selection “Slot In 1–32” is still greyed
out because it will be activated in the desk’s firmware along with
the release of the NY64 expansion cards.
The tap for recording to a DAW connected via USB can be
switched globally. As a rule you’ll use pre-processing setup be-
cause the settings for a LIVE show are normally not the ones
you’ll want for a later downmix to a stereo file. Should you like
to do the downmix using the console again, you can play back
the unprocessed signals to the same position and then perform
the mix. To play back a multi-track recording of a concert is
sometimes quite convenient because you can use the recording
for a sound check on an empty stage. This is advantageous in
several ways:
Firstly, the musicians don’t have to go through a boring and tir-
ing sound check and, secondly, the sound engineer at the con-
sole can kind of get a good LIVE feeling while doing the sound
check (we all know that many musicians play louder and heavier
during a show than when doing the sound check).
Filters
Each input channel of the TF consoles 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
can adjust gain or frequencies, with two fingers you can alter
the filter’s quality factor. The same can be done using the iPad
app. The TF editor transfers all three controls to the mouse
wheel; real purists or techno nerds then have the chance to
enter all filter parameters directly as numeric values.
Typical for Yamaha: the filters are not compensated with respect
to their transfer function. Close to half of the sampling rate, the
filter curve will be compressed while sweeping the frequency
axis. The reason is that the infinite frequency axis is transformed
from the analog to the finite and discrete spectrum of the digital
domain.
Is the half sampling rate at 24 kHz, you will already see signifi-
cant changes in the filter curve shape above 10 kHz. This is
clearly depicted by the two red curves in the upper part of figure
Parametric EQs
in all inputs fully equipped, alternatively the EQ
can be set to “1-knob” mode (figure 14)
High and low shelving
filters and high pass and low pass filters
(below) in all inputs (figure 15)
Bell-Filter
with settings for frequency and gain (above) and for
quality (figure 16)
