Design Meets Intuition
Yamaha has always made it a mission to stay in touch with the needs of sound engineers world
and the flagship RIVAGE PM10. The key to success has always been in supporting the user’s
and now Yamaha has created a new digital mixing console that gives the user’s intuition even
the user to respond to the music and artists on stage with unprecedented speed and freedom,
With the TouchFlow Operation interface optimized for touch panel control, experienced engin
Recallable D-PRE™ preamplifiers support sound quality that will satisfy the most discerning pro
with high-performance I/O racks give these compact digital mixers capabilities that make them
Experience the intuitive control and creative freedom that a truly evolved digital console can
wide. The outcome is evident in the success of the recent CL and QL series digital mixing consoles,
creativity. Creativity is most effective when unrestricted,
freer rein. TouchFlow Operation™ introduced in the TF series consoles allows
taking live sound reinforcement to a new level of refinement.
eers as well as newcomers to the field will find it easier than ever to achieve the ideal mix.
fessional ears, while advanced live recording features and seamless operation
outstanding choices for a wide range of applications.
provide.
02
Smooth Setup
TouchFlow Operation™ – Smooth, Natural Control Flow
Yamaha digital consoles have always been designed with input from leading engineers worldwide
to ensure that the most efficient, intuitive operation is achieved. The highly regarded Selected Channel
and Centralogic™ interfaces attest to the success of that approach. The TF series combines Yamaha know-how
with new input from the field and the latest touch-screen technology to deliver an evolved experience
in console operation. Smooth setup and operation, practical presets and scenes, refined design,
and software applications that integrate seamlessly with the entire system: these elements comprise
TouchFlow Operation, a new concept in console interfaces that offers unprecedented comfort and
convenience in small consoles, for a wide range of users and applications.
Intuitive User Interface Optimized
for Touch Panel Operation
8 Powerful Prosessing /
Effect Units
New Features for Smooth
Setup and Operation
Applications that work Seanlessly
with the Console
1 konb-Comp
On the Stage
1 konb-EQ
GainFinder
Practical Presets and Scenes
- Shortcuts to Great Sound
Near the Stage
Back Stage
Plug In & Play
Dante Stage Box
04
Touch Operation for Intimate Control
Refined for the smoothest possible operation via touch-panel control, the TF user interface offers a smooth workflow that can be an advantage in any mixing situation.
The display content has been specifically designed for easy, direct accessibility, with a layout that promotes the most natural, efficient mixing. Touch panel operation is as easy
as shaping the sound with your fingertips.
Touch & Turn Knob Offers Extra Control Precision
Traditional Overview and Selected Channel Interfaces
When you need extra precision for a fine EQ or other adjustment, the physical Touch & Turn
knob is always available right beside the touch panel. There are also four User Defined
Knobs below the panel that can be assigned to control compressor threshold, EQ gain,
or other parameters you need fast, direct access to while mixing. The knobs always affect
the currently selected channel.
Like the CL series consoles, operation is based around Overview and Selected Channel
windows. The overview display shows the parameters for eight channels at a time,
while the Touch & Turn knob provides direct access to gain, 1-knob EQ™, 1-knob COMP™,
gate threshold, effect send level, pan, and other parameters. Touch the highlighted
parameter a second time to switch to the Selected Channel display when you need access
to detailed parameters for finer control.
Intuitive User Interface Optimized for Touch Panel Operation
In developing the TF series Yamaha engineers built from their existing base of acclaimed high-end mixer interfaces,
adding intuitive control in an interface optimized for the type of touch panel control that has become a familiar
feature in a wide range of applications. Allowing most operations to be carried out via the touch panel alone,
the innovative TF series interface will quickly become second nature to a broad spectrum of users.
Whether you have experience with Yamaha digital consoles, work with other digital consoles,
operate analog consoles, or have never operated a mixer before, TF consoles will lead you to the desired
results quickly and effortlessly through a smooth, efficient workflow. The availability of physical controls surrounding
the touch panel further enhances control versatility and precision.
Overview
Selected ch
06
GainFinder™ Supports Precision
Gain Setup
1-knob COMP™ & 1-knob EQ™: One Knob to Dial In the Ideal Sound
An experienced engineer can do a lot with a compressor: bring a guitar to life, add punch to bass,
tighten up a snare, and make vocals ride clearly on the mix. The 1-knob COMP can do all of this quickly and
easily, without the need to juggle multiple parameters to achieve the desired effect. Originally introduced in Yamaha analog
mixers, the 1-knob COMP quickly became a popular and valued feature. It has now been further refined in a digital version
that adds new setup ease and efficiency to the TF consoles.
The same concept has been applied in a new 1-knob EQ feature that provides notably improved speed and smooth
operation. 1-knob EQ has been painstakingly fine-tuned by Yamaha R&D staff in cooperation with distinguished sound
engineers, to ensure that you can achieve outstanding results with minimum effort in the shortest possible time. A Vocal
Mode makes it easier than ever to achieve a clear, well defined vocal sound, while an Intensity Mode offers 1-knob
“intensity” control over EQ curves you either select from the presets or create from scratch.
But there’s more: the 1-knob COMP and 1-knob EQ are provided on the output channels too, so you can quickly achieve
overall output compression or EQ that ideally matches the room and audience size. The output 1-knob EQ has a Loudness
Mode in place of the Vocal Mode, effectively increasing the sound pressure level while maintaining optimum sound as you
rotate the knob.
Both the 1-knob COMP and 1-knob EQ provide quick access to the full compressor and EQ displays, so you can fine tune
settings as required.
Gain is the first adjustment the input signal
sees, and the way it is set up influences how subsequent
parameters will affect the signal. Yamaha has developed a
way to make fast, accurate setup of this important basic
parameter easier than ever. The new GainFinder feature
facilitates optimum gain setup for individual input signals so
that ideal overall operation and signal quality is achieved.
The user only has to set channel gain so that the central
green indicator in the level meter remains lit for the longest
possible time. Of course the level meters also perform their
traditional function, so standard gain setup procedure can
be followed if preferred.
New Features for Smooth Setup and Operation
Effective gain, compressor, and EQ setup requires a considerable degree of skill
and experience. Even veteran engineers need to spend time on these important basic settings.
In addition to their intuitive user interfaces, TF consoles include a number of features that
contribute to faster, smoother setup of these essential parameters.
1-knob COMP
1-knob EQ
GainFinder
08
TF Editor Facilitates Offline Editing Plus Showtime Control
The TF Editor application for Windows and Mac computers provides a complete
interface for offline editing and setup of TF consoles, with scene and preset
management capabilities plus convenient keyboard entry of channel names.
In addition to being able to set up the console offline at any convenient location
and time, the TF Editor can be used online at the same time as the TF StageMix
and MonitorMix applications. A Windows 8 PC with a multi-touch screen can use
the same gestures as on the console itself. And if using Wi-Fi, a PC can function
as a convenient remote-mixing device. Up to three devices running TF Editor or
StageMix can be connected at the same time.
TF StageMix™ for Wireless Mixing
TF StageMix is an iPad application that provides wireless control of TF series
consoles, allowing remote mixing from audience seating, in front of floor monitors,
or any other listening position. It can also be used at the console as an extension of
the console’s own interface. The TF StageMix interface is designed for similar
operation and flow to the console display, making it easier than ever to refine
the mix from any location.
Personal Monitoring with MonitorMix
Applications that Work Seamlessly with the Console
Separate software applications that allow wireless mixing, personal monitor mixing,
or offline setup of digital live mixing consoles have become fairly common.
The TF series goes a step further with three dedicated apps – TF Editor, TF StageMix,
and MonitorMix – that feature user interfaces that seamlessly extend
the console’s own on any device.
The MonitorMix application for the TF Series allows individual wireless AUX mixing
from up to 10 iPhone, iPad or iPod touch devices simultaneously. Each performer
can have convenient control over the AUX buses assigned to them, without having to
deal with complex settings or parameters. They can also create personal Group
settings for even easier adjustment: all levels on just one fader, for example. Since up
to three devices running TF Editor or StageMix and up to 10 devices running
MonitorMix can be connected at the same time, even large bands can have the
personal control they need, reducing demands on the sound engineer.
* TF StageMix and MonitorMix can be downloaded from Apple’s App Store at no charge.
* Apple, the Apple logo, iPad, iPhone, iPod touch and Mac are trademarks of Apple Inc., registered in the U.S. and other countries.
App Store is a service mark of Apple Inc.
10
Practical Presets and Scenes – Shortcuts to Great Sound
The familiar Yamaha scene memory that stores mix settings for instant recall when needed is included as always.
There’s also a range of channel presets that have been created in cooperation with leading microphone manufacturers
and eminent sound engineers, providing starting points that take you a long way towards achieving great sound.
The channel presets cover parameters such as HA gain, EQ, dynamics, and much more, right down to details like channel name and color.
Less time needs to be spent on basic setup so that more time is available for refining the mix and communicating with the performers.
QuickPro Presets™ Provide Instant Access to Pro Sound Setups
Working with microphone manufacturers such as Audio-Technica, Sennheiser and
Shure as well as respected engineers, and evaluating a large number of
microphones, musical instruments, speaker systems, and in-ear monitors, the Yamaha R&D
team focused on creating a range of shortcuts to great sound that would be effective in a wide
variety of live-sound situations. Armed with these practical presets even the novice engineer can
get very close to the ideal sound, while experienced engineers will appreciate the significant time
savings they can provide starting points for further adjustments.
The QuickPro Presets can be searched by instrument type and recalled quickly and easily. The
presets include HA gain, EQ, Comp and other settings, right down to the channel name and
color. The 1-knob EQ and 1-knob COMP can be used with QuickPro Presets, providing a super
streamlined way to tweak the sound.
The output channel preset library includes parameter sets optimized for Yamaha powered
speakers, with several variations to match different environments and room sizes. Presets are
provided for in-ear monitors too. All of these can be used as is when time is tight, but they are
also great starting points for manual fine tuning. Setups created from the presets or from scratch
can be saved as additional presets too.
A: Band
Two Scene Memory Banks
B: Event
The scene memory features banks A and B, each capable of holding up to 100 scenes.
That’s a total of 200 scenes that can be set up and instantly recalled whenever needed.
A number of scenes are pre-programmed to give users a head start: scenes with the 1-knob
COMP and 1-knob EQ controls engaged for the easiest possible operation, and scenes with
the 1-knob features disabled for experienced engineers who might want to follow an established
procedure. The banks are great for organizing different types of scenes: one for scenes
categorized by music type, and the other by event type, for example.
Comment from Audio-Technica Corporation
Keisuke Kobayashi, CMO & CTO
“Each Audio-Technica microphone is painstakingly designed to give a truly accurate reproduction
within the application it has been selected for. We strive to provide the best possible tools allowing
the user to realise the expression of their work. Collaborating closely with the TF engineers on
the instrument specific presets means that we can be sure our microphones deliver their best
performance, while leaving the user free to focus on the creativity and character of the production.”
Comment from Sennheiser
Comment from Shure
Michael Polten, Product Management & Marketing,
Live Performance & Music
“We’re thrilled to be offering QuickPro presets of our most popular SM, Beta,
KSM and PG Alta microphones in the new TF mixer. When you combine Shure’s 90 years of microphone
experience with the versatile new TF digital mixer and exceptional Yamaha speakers, these presets allow
engineers at any level of experience to leverage our combined technical expertise for quick, simple and
effective sound checks and performances that sound amazing. Engineers can focus on mixing great quality
audio instead of chasing problems. It’s an incredibly powerful solution.”
“The presets in the Yamaha TF series digital mixers provide users with an accurate indication of how to
set the EQ for a wide variety of instrument/microphone combin ations. These preset functions give
the sound technician a solid basis to start from. All that is need ed is to adapt the EQ-ing to the specific
room and the instruments.”
Matt Engstrom, Category Director, Wired Products
12
Design for Superior Visibility and Quick Operation
Comprehensive Fader Bank section
Two INPUT banks and one OUTPUT bank are provided, and the GROUP bank can be
The TF series hardware is packed with features that contribute to superior
operability and convenience. Faders, knobs, and buttons with outstanding fit
and feel work seamlessly with state-of-the-art display technology,
including high-visibility channel name and color displays. The touch panel itself
offers an ideal blend of comprehensive visual feedback and fast response.
The physical layout of these components brings everything together in a system
that offers surprisingly efficient workflow.
8
7
9
4
1
5
14
CUSTOM fader bank where you can assign any input, output, and DCA group to any fader.
13
10
11
Careful analysis of the workflows favored by a large number of engineers has led to a highly
efficient panel layout. Rather than simply providing a long list of advanced features,
the TF consoles present meaningful features in the most logical and accessible way
through an overall design that maximizes visibility and operability.
Channel Name and Color
A display panel located above each channel fader shows the assigned channel name or ID,
the port name, and the current fader setting. Phantom power status as well as gate and comp
operation can also be displayed. A color bar that shows the assigned channel color makes visual
navigation a breeze, and prevents confusion when fader banks are changed or scenes are recalled.
1 Display section: The 7" multi-touch display, positioned and angled for optimum operability,
features a high-luminance backlight that affords excellent visibility indoors or out.
2 USER DEFINED KNOBS section: Frequently used parameters such as compressor threshold and
EQ gain, for example, can be assigned for direct, instant access when needed.
Faders Provide a Clear View of All Inputs
3 TOUCH and TURN section: Smooth operation with a very simple concept: touch a parameter on
the screen to select, then turn the knob to adjust.
The TF5 has 33 motor faders, the TF3 has 25, and the TF1 has 17.
All rear-panel inputs have individual faders so their status can be verified at a
glance and they can be directly and immediately accessed for control.
4 USER DEFINED KEYS section: Assign mixer settings that you use often to these six buttons for
instant access, such as direct one-touch recall of specified scenes.
5 MUTE section: Multiple inputs or effects can be muted with a single operation.
12
6 FX section: A dedicated channel offers easy effect ON/OFF switching, cue monitor ON/OFF switching,
level adjustment, and effect parameter editing.
SENDS ON FADER section
7 ST IN section: In addition to allowing digital playback from an iPad or iPhone or recording/playback
with a USB device, you have fingertip control of BGM playback and other audio files.
The SENDS ON FADER buttons instantly bring the specified AUX or FX bus levels up on
the faders for easy verification and adjustment. When a SENDS ON FADER button is
engaged the MASTER fader acts as the master for the corresponding bus, so AUX levels
can be checked and controlled without having to switch fader banks.
9 USB connector 10 Channel Strip section
11 STEREO/MASTER section 12 TAP key 13 PHONES section 14 METER section
1
2 ST IN jacks
5 USB TO HOST connector
3 INPUT jacks
6 FOOT SW jack
DCA Roll-out Enhances Group Control
When the GROUP fader bank is selected, all faders other than DCA masters 1 through 8 function
as Roll-out faders. Selecting one of the DCA groups instantly “rolls out” the input channels
belonging to that group to the Roll-out faders. This useful function makes it easy to adjust the level
and other parameters of individual channels while using the eight DCA faders for overall mixing.
2
Panel Layout Maximizes Workflow Efficiency
1 OMNI OUT jacks
the levels of multiple channels to be controlled from a single DCA fader. There’s also a
6
3
8 iPad connector
selected by pressing both the INPUT bank buttons simultaneously. The GROUP bank allows
Input1
Input2
Output
Group
Custom
2
4 NETWORK connector
7 Expansion slot
3
Advanced Design Promotes Smooth, Comfortable Operation
The upper section of the panel is designed to double as a rest for an iPad, set list, score,
memos, and/or other small items. The panel consists of three angled sections that give
the operator maximum visibility and access.
7
6
5
4
14
TF-RACK : Advanced Panel Layout for Efficient Workflow
TF-RACK : Rear
Inheriting the core of TF consoles, the panel layout of TF-RACK provides an overall design that maximizes visibility and operability.
Smooth accessibility and efficient workflow will be experienced with the compact TF-RACK.
TF-RACK : Front
1 Display section:
The 7" multi-touch display, positioned
and angled for optimum operability,
features a high-luminance backlight that
affords excellent visibility indoors or out.
2 USER DEFINED KNOBS section:
Frequently used parameters such as
compressor threshold and EQ gain,
for example, can be assigned for
direct, instant access when needed.
3 TOUCH and TURN section:
Smooth operation with a very simple
concept: touch a parameter on the
screen to select,
then turn the knob to adjust.
4 USER DEFINED KEYS section:
Assign mixer settings that you use
often to these six buttons for instant
access, such as direct one-touch
recall of specified scenes.
6
1
5 MUTE section:
Multiple inputs or effects can be
muted with a single operation.
6 Comprehensive Fader Bank section:
Two INPUT banks and one OUTPUT bank are provided, and the GROUP bank can be
selected by pressing both the INPUT bank buttons simultaneously. The GROUP bank allows
the levels of multiple channels to be controlled from a single DCA fader. There’s also a
CUSTOM fader bank where you can assign any input, output, and DCA group to any fader.
DCA Roll-out Enhances Group Control: When the GROUP fader bank is selected, all faders
other than DCA masters 1 through 8 function as Roll-out faders. Selecting one of the DCA
groups instantly “rolls out” the input channels belonging to that group to the Roll-out faders.
This useful function makes it easy to adjust the level and other parameters of individual
channels while using the eight DCA faders for overall mixing.
1 OMNI OUT jacks
8 USB connector
2 ST IN jacks
9 TAP key
3 INPUT jacks
10 CLEAR CUE key
4 NETWORK connector
11 PHONES section
5 USB TO HOST connector
6 FOOT SW jack
7 Expansion slot
1
5
7
7 iPad connector
3
9
8
10
4
11
2
3
7
2
6
5
4
Tio1608-D
Tio1608-D provides a Dante-equipped I/O rack solution with 16 microphone/ line inputs and 8 line outputs.It features the same recallable D-PRE™ microphone preamplifiers
as the TF series, delivering an extraordinarily natural and musical sound.
1
3
3
4
5
1
2
2
TF-RACK : Front
1 INPUT jacks 2 OUTPUT +4dBU jacks
3 UNIT ID switch
4 QUICK CONFIG switch
5 +48V MASTER switch
TF-RACK : Rear
1 FAN switch 2 DIP switch
3 PRIMARY and SECONDARY Dante connectors123
16
A Natural Sound Foundation with Extra Creative Freedom
Faithful reproduction of the on-stage sound is the foundation, then creativity can take over.
Yamaha’s unswerving approach to live sound reinforcement is alive and well in the TF series.
The input stage of any console has a notable effect on its sonic character.
The TF consoles feature acclaimed D-PRE™ microphone preamplifiers that not only deliver outstanding quality,
but are recallable as well. Circuitry and individual components have been reassessed and redesigned where necessary to
achieve extraordinarily pure, natural sound. That solid sonic foundation is backed up by an updated selection of
high-performance processors and effects. Input and output channel processors such as EQ, gates,
and compressors are complemented by eight processors that provide a broad spectrum of creative capabilities.
Powerful Processors and Effects
In addition to EQ and two dynamics processors on each channel,
the TF consoles offer eight powerful processors for wide-ranging sonic
control. The globally accessible FX 1 and 2 feature the same type of SPX processors that
have become standards in recording and live sound applications, offering 17 programs
ranging from reverb and delay through modulation effects such as flanger and chorus to
3-band multiband compression. The panel EDIT key opens the effect parameter display
where detailed parameters such as reverb time and delay feedback can be adjusted as
required.
The remaining six processors are available in the AUX 9/10~19/20 master channels.
All effects other than reverb are provided.* Multiband compression is ideal for in-ear
monitor level control, delay can be used for speaker alignment, and much more. And since
these AUX buses can be sent to the main stereo bus, the effects can be used to
supplement the available input channel processing when FX 1 and 2 aren’t quite enough.
The AUX 1~8 buses and main output channels include the same 4-band parametric EQ as
provided on the input channels, plus 31-band Flex12 GEQ. Both types of EQ are invaluable
for optimizing speaker response and eliminating feedback.
* Reverb is available for AUX 9/10 and 11/12.
Various mix to maultiple speaker systems -Matrix Out Channels with DelayRecallable D-PRE™ Microphone Preamplifiers
The TF series consoles feature new recallable versions of Yamaha’s
acclaimed D-PRE microphone preamplifier. The preamplifiers,
or head amplifiers in any console play a significant role in defining the sound of
the final mix, so Yamaha engineers spared no effort in developing and refining the
D-PRE design to ensure that every nuance and subtlety of the original signal is
effectively captured. The circuit is based on a discrete inverted Darlington pair
configuration that achieves clean, precise amplification with consistently low noise
and distortion at all signal levels. While some microphone preamps are built
specifically to impart a unique character of their own, the D-PRE preamplifier has
been painstakingly designed with a flat, wide frequency response that retains the
tone and nuance of the original sound so that the essence of the performer’s art is
captured intact.
Four matrix out channels with delay parameters that are ideally suited to setting up delay compensation for live sound speaker systems at
large venues, installations where separate mixes are fed to a main hall and lobby, and many other situations that require
some degree of delay compensation.
18
A High-performance
Stagebox Solution
that’s Simple to Set Up
The natural, musical sound that was a key element
of the TF Series design policy is carried on without
compromise in the Tio1608-D I/O Rack.
Mechanical construction, circuit board layout,
power supply, grounding, and parts selection have
all been executed with meticulous attention to
detail and quality, and exhaustive performance and
listening tests were carried out at each stage of
development. For networking the same Dante
protocol implemented in higher end Yamaha digital
consoles is used for precise synchronization,
low latency, low jitter, and high sample accuracy.
In addition to superior performance,
a Tio1608-D stage box system can be set up in
just three easy steps.
System expansion with Tio1608-D
Compact system for conference/corporate events
Tio1608-D allows you to easily expand a TF digital mixer
The compact TF console is perfect for applications that require
system up to 40ch inputs/24ch outputs. System setup uses
space-saving sound systems such as conferences or corporate
a Plug In & Play method. Simply connect Cat5e cable,
events. Since TF1 is a rack-mountable console it will provide you
select the device IDs and the system is ready. Remote HA
control is available via Cat5e. StageMix App allows wireless
remote control of the console from the arena, the stage or
the audience etc.
with a simple and discreet sound system. Recording of the event
and playback of BGM can be easily done via USB memory.
The touch screen and 1KnobEQ allow for easy control of fine
adjustments such as for the EQ and feedback suppressors.
StageMix wireless App gives greater freedom by allowing
operators to control the console remotely during an event.
DSR115
Tio1608-D
ID#2
DXS18
Tio1608-D
ID#3
Tio1608-D
ID#1
StageMix
TF5
Stagemix
Analog
Live recording capability is becoming increasingly important in live sound systems. From simple 2-track recording and playback using a USB storage device* to
all-out multitrack recording with a computer based DAW (Digital Audio Workstation), the TF series is ready to roll. TF consoles come supplied with
Steinberg’s Nuendo Live multi-track live recording software, allows up to 34 tracks to be recorded to a computer connected to the console via USB 2.0.
MP3 and WAV files can be played back from USB storage devices, and audio from an iPhone or iPad can be played back via a
direct digital connection. When playing back from a DAW, analog input or DAW input can be individually selected for each channel
so that pre-recorded material can be mixed with live input for virtual sound checks or rehearsals.
Of course BGM and sound effects can be played back too.
*Please note - USB thumb drives are not supported by TF for recording purposes. Please refer to this link for compatible hard drives.
TF-RACK
DXS18
NY64-D
PC
A Versatile Live Recording and
Playback Solution for Any Application
DSR115
CAT5
A Groundbreaking Approach to Compact Live Sound
TF series have 32, 24, or 16 mono input channels. All models also have dual stereo inputs that allow selection between a USB source such as an iPad, iPhone, USB storage device, PC,
or an analog source. The status of all of the above inputs, plus two dedicated effect return channels, can be simultaneously verified directly via the control panel.
The rear-panel analog inputs feature recallable Yamaha D-PRE microphone preamplifiers for the first time in a digital console. This allows preamp setup to be recalled from scene memory
along with other console settings, providing improved support for live music and events where full-console changes need to be made on the fly. In addition to all-around performance
that is ideal for installations or live sound reinforcement, the TF series consoles are lightweight and compact for unrivalled portability and space savings.
• 25 motor faders (24 channels + 1 master)
• 48 input mixing channels (40 mono + 2 stereo + 2 return)
• 20 AUX (8 mono + 6 stereo) + stereo + sub buses
• 8 DCA groups with Roll-out
• 24 analog XLR/TRS combo mic/line inputs +
2 analog RCA pin stereo line inputs
• 16 analog XLR outputs
• 34 x 34 digital record/playback channels via USB 2.0 +
2 x 2 via a USB storage device
• 1 expansion slot for NY64-D audio interface card
• 33 motor faders (32 channels + 1 master)
• 48 input mixing channels (40 mono + 2 stereo + 2 return)
• 20 AUX (8 mono + 6 stereo) + stereo + sub buses
• 8 DCA groups with Roll-out
• 32 analog XLR/TRS combo mic/line inputs +
2 analog RCA pin stereo line inputs
• 16 analog XLR outputs
• 34 x 34 digital record/playback channels via
USB 2.0 + 2 x 2 via a USB storage device
• 1 expansion slot for NY64-D audio interface card
I/O Rack
Audio Interface Card
The Tio1608-D is a Dante equipped I/O rack with 16 microphone/line inputs and 8 line outputs. The Tio1608-D preamplifiers
can be remotely controlled from a TF series console. Connection from an on-stage Tio1608-D to a TF console at the mixing
position only requires a CAT5e LAN cable for high-quality low-latency audio transfer. No bulky, heavy multi-cables and
connector boxes are required. What’s more, basic patches are pre-programmed for fast, easy setup. Up to three Tio1608-D
units can be connected simultaneously, providing a high-performance, high capacity stage box system with as many as 48
inputs and 24 outputs. The network connections can be daisy-chained when Tio1608-D units are used with a TF series
console, eliminating the need for network switches.
The NY64-D is an I/O expansion card for TF series
consoles that allows transmission and reception of up to
128 channels (64 in/64 out) of uncompressed 48 kHz 24 bit
digital audio data via a Dante™ audio network.
Used in conjunction with the Tio1608-D I/O it becomes
possible to create a versatile stage box system with up to
48 inputs and 24 outputs.
Tio1608-D
• 40 input mixing channels (32 mono + 2 stereo + 2 return)
• 20 AUX buses (8 mono + 6 stereo) + stereo + sub
• 8 DCA groups with Roll-out
• 16 analog XLR/TRS combo mic/line inputs + 1 analog RCA pin stereo line inputs
• 8 analog XLR outputs + 8 analog TRS outputs
• 34 x 34 digital record/playback channels via USB 2.0 + 2 x 2 via a USB storage device
• 1 expansion slot for NY64-D audio interface card
• 17 motor faders (16 channels + 1 master) • 40 input mixing channels (32 mono + 2 stereo + 2 return)
• 20 AUX buses (8 mono + 6 stereo) + stereo + sub • 8 DCA groups with Roll-out
• 16 analog XLR/TRS combo mic/line inputs + 2 analog RCA pin stereo line inputs
• 16 analog XLR outputs • 34 x 34 digital record/playback channels via USB 2.0 + 2 x 2 via a USB storage device
• 1 expansion slot for NY64-D audio interface card
NY64-D
Rack Mount Kit
RK5014
The RK5014 Rack Mount Kit can be used to
mount the TF1 console in a standard 19-inch EIA
equipment rack of the type commonly used in live sound,
studio, and installed applications.
22
Specifications
Mixing Capacity
Input Channels
Main Buses
Aux Buses
Groups
Inputs
I/O Connectors
Outputs
Expansion Slot
Signal Processors
Recording
via Windows/Mac
via USB Storage Device
Internal Clock
Sampling Frequency
Signal Delays
Fader
Frequency Response
Total Harmonic Distortion*2
Hum & Noise*3
Dynamic Range
Crosstalk@1 kHz
Dimensions (W x H x D)
Net Weight
Power Requirements (wattage)
Power Requirements (voltage and hertz)
Temperature Range
Included Accessories
Options
*1 Crosstalk is measured with a –30 dB/octave filter@22 kHz. *2 Total Harmonic Distortion is measured with a –18 dB/octave filter@80 kHz.
*3 Hum & Noise are measured with an A-Weight filter.
Input Terminals
GAIN
INPUT1-32 (TF5)
INPUT1-24 (TF3)
INPUT1-16 (TF1)
+66dB
ST IN 1,2
Load
Impedance
-6dB
—
For Use With
Nominal
7.5kΩ
50-600Ω Mics
or 600Ω Lines
10kΩ
600Ω Lines
Sensitivity*1
Input Level
Nominal
Max. before clip
-82dBu (61.6μV)
-62dBu (0.616mV)
-42dBu (6.16mV)
-10dBu (245mV)
+10dBu (2.45V)
+30dBu (24.5V)
-30dBV (31.6μV)
-10dBV (316mV)
balanced /
Unbalanced
Connector
Combo Jack (XLR-3-31 type *
or TRS phone *3)
Balanced
RCA Pin Jack
+10dBV (3.16V)
Input Channels
Main Buses
Aux Buses
Groups
Inputs
Outputs
Expansion Slot
Mixing Capacity
2
Unbalanced
*1 Sensitivity is the lowest level that will produce an output of +4dBu (1.23V) or the nominal output level when the unit is set to maximum gain. (All faders and level controls are at maximum position.)
*2 1: GND, 2: HOT, 3: COLD *3. Tip: HOT, Ring: COLD, Sleeve: GND *4 In these specifications, 0dBu = 0.775Vrms.
*5 +48V DC (phantom power) can be supplied to INPUT XLR type connectors via each individual software controlled switch.
I/O Connectors
Signal Processors
PC/Mac (USB2.0)
USB Storage Device
Sampling Frequency
Internal Clock
Signal Delays
Fader
Frequency Response
Total Harmonic Distortion*2
Hum & Noise*3
Dynamic Range
Crosstalk@1 kHz
Dimensions (W x H x D)
Net Weight
Power Requirements (wattage)
Power Requirements (voltage and hertz)
Temperature Range
Included Accessories
Options
Recording/Playback
Analog output characteristics
Output Terminals
OMNI OUT 1-16
PHONES *5
For Use With
Nominal
600Ω Lines
40Ω Phones
Source
Impedance
75Ω
100Ω
GAIN SW
“+24dBu” position (default)
—
Output Level
Nominal
Max. before clip
+4dBu (1.23 V)
+24dBu (12.3 V)
3mW
75mW
balanced /
Unbalanced
Balanced
Unbalanced
Connector
XLR-3-32 type *1
Stereo Phone Jack (TRS) *2
*1 1: GND, 2: HOT, 3: COLD *2 Tip: LEFT, Ring: RIGHT, Sleeve: GND *3 In these specifications, 0dBu = 0.775Vrms. *4 All output DA converters are 24bit, 128times oversampling.
*5 The position of the level control is lowered by 16dB from the maximum.
Digital input / output specifications
Terminals
USB (TO HOST)
iPad
Format
USB
USB
Data length
24bit
—
Audio
34ch input / 34ch output, PCM
Playback: MP3 or WAV file data / Record: WAV file data
Connector
USB (B type)
USB (A type)
Format
IEEE802.3
—
Level
10BASE-T/100Base-TX
—
Connector
RJ-45
TS Phone
Frequency response
Dynamic range
Dimensions
Equivalent input noise
Residual output noise
Hum & noise level
TF3
Crosstalk
Heat dissipation
Power requirements
Power consumption
Dimensions (W x H x D)
Net weight
Accessories
Others
TF1
225 mm (8.9in)
50-600Ω Mics
or 600Ω Lines
10kΩ
600Ω Lines
Input Level
Nominal
Max. before clip
-62dBu (0.616mV)
-42dBu (6.16mV)
-10dBu (245mV)
+10dBu (2.45V)
+30dBu (24.5V)
-30dBV (31.6μV)
-10dBV (316mV)
balanced /
Unbalanced
Connector
Combo Jack (XLR-3-31 type *
or TRS phone *3)
2
RCA Pin Jack
+10dBV (3.16V)
Balanced
Unbalanced
Analog output characteristics
Source
Impedance
Output Terminals
OMNI OUT 1-8
OMNI OUT 9-16
PHONES *5
For Use With
Nominal
Nominal
Output Level
Max. before clip
75Ω
600Ω Lines
+4dBu (1.23 V)
+24dBu (12.3 V)
100Ω
40Ω Phones
3mW
75mW
Connector
balanced /
Unbalanced
XLR-3-32 type *1
Stereo Phone Jack (TRS) *6
Stereo Phone Jack (TRS) *2
Unbalanced
Balanced
*1 1: GND, 2: HOT, 3: COLD *2 Tip: LEFT, Ring: RIGHT, Sleeve: GND *3 In these specifications, 0dBu = 0.775Vrms. *4 All output DA converters are 24bit, 128times oversampling.
*5 The position of the level control is lowered by 16dB from the maximum. *6. Tip: HOT, Ring: COLD, Sleeve: GND
Digital input / output specifications
Terminals
USB (TO HOST)
iPad
Format
USB
USB
Data length
24bit
—
Audio
34ch input / 34ch output, PCM
Playback: MP3 or WAV file data / Record: WAV file data
Connector
USB (B type)
USB (A type)
Control I/O specifications
Terminals
NETWORK
FOOT SW
Format
IEEE802.3
—
Level
10BASE-T/100Base-TX
—
Connector
RJ-45
TS Phone
Tio1608-D Input / Output Specifications
Analog input characteristics
Input Terminals
INPUT1-16
+66dB
-6dB
Load
Impedance
For Use With
Nominal
7.5kΩ
50-600Ω Mics
or 600Ω Lines
Sensitivity*1
Input Level
Nominal
Max. before clip
-82dBu (61.6μV)
-62dBu (0.616mV)
-42dBu (6.16mV)
-10dBu (245mV)
+10dBu (2.45V)
+30dBu (24.5V)
Connector
balanced /
Unbalanced
Combo Jack (XLR-3-31 type *2
or TRS phone *3)
Balanced
*1. Sensitivity is the lowest level that will produce an output of +4dBu (1.23V) or the nominal output level when the unit is set to maximum gain.
*2. 1: GND, 2: HOT, 3: COLD *3. Tip: HOT, Ring: COLD, Sleeve: GND
Analog output characteristics
Output Terminals
OMNI OUT 1-8
Source
Impedance
75Ω
For Use With
Nominal
600Ω Lines
Output Level
Nominal
Max. before clip
+4dBu (1.23 V)
+24dBu (12.3 V)
Connector
XLR-3-32 type *1
balanced /
Unbalanced
Balanced
*1.1: GND,2: HOT, 3: COLD
Digital input / output specifications
Terminals
Format
Data length
Level
Primary/Secondary
Dante
24bit or 32bit
1000Base-T
Tio1608-D
480 (18 7/8in)
430 (16 7/8in)
368 (14 1/2in)
GAIN
430 (16 7/8in)
Audio
16ch ( Tio1608-D to other devises)
8ch (Other devises to Tio1608-D)
Connector
etherCON Cat5e
480 (18 7/8in)
430 (16 7/8in)
409 (16 1/8in)
368 (14 1/2in)
88
396 (15 5/8in)
—
7.5kΩ
Sensitivity*1
-82dBu (61.6μV)
*1 Sensitivity is the lowest level that will produce an output of +4dBu (1.23V) or the nominal output level when the unit is set to maximum gain. (All faders and level controls are at maximum position.)
*2 1: GND, 2: HOT, 3: COLD *3. Tip: HOT, Ring: COLD, Sleeve: GND *4 In these specifications, 0dBu = 0.775Vrms.
*5 +48V DC (phantom power) can be supplied to INPUT XLR type connectors via each individual software controlled switch.
Tio1608-D
44.1kHz or 48kHz
Less than 0.1% +4dBu@20Hz-20kHz into 600Ω, Gain=+66dB / Less than 0.05% +4dBU@20Hz-20kHz into 600Ω,
Gain=-6dB, INPUT to OUTPUT, Fs=44.1kHz, 48kHz *Measured with a -18dB/octave filter @80kHz
+0.5, -1.5dB 20Hz-20kHz, refer to the nominal output level @1kHz, INPUT to OUTPUT, Fs=44.1kHz or 48kHz
108 dB, INPUT to OUTPUT, Gain=-6dB / 112 dB, DA Converter
-128dBu, Gain=+66dB *Measured with A-weighting filter
-88dBu, ST master off *Measured with A-weighting filter
-100dB, adjacent INPUT/OUTPUT channels, Input Gain = -6dB *Measured with a -30dB/octave filter @22kHz
100-240V, 50/60Hz, 43.5kcal/h
100-240V, 50/60Hz
50W
480mm x 88mm x 364mm (18-7/8" x 3-4/8" x 14-3/8")
5.7kg (12.6lbs)
Owner’s Manual, Power Cord (2.5m), Rubber stoppers (4)
Temperature Range: Operating temperature range: 0 - 40°C, Storage temperature range: -20 - 60°C
430 (16 7/8in)
35
(1 3/8in)
22 (7/8in)
599 mm (23.6in)
599 mm (23.6in)
599 mm (23.6in)
-6dB
For Use With
Nominal
88
510 mm (20.1in)
Load
Impedance
GAIN
+66dB
132 (5 1/4in)
716 mm (28.2in)
ST IN 1,2
Dimensions
225 mm (8.9in)
TF-RACK
866 mm (34.1in)
INPUT1-16
Tio1608-D General Specifications
Total harmonic distortion
225 mm (8.9in)
Input Terminals
*1 Crosstalk is measured with a –30 dB/octave filter@22 kHz. *2 Total Harmonic Distortion is measured with a –18 dB/octave filter@80 kHz.
*3 Hum & Noise are measured with an A-Weight filter.
Control I/O specifications
Terminals
NETWORK
FOOT SW
Analog input characteristics
TF-RACK
—
40 (32 mono + 2 stereo + 2 return)
Stereo + Sub
20 (8 mono + 6 stereo)
8 DCA Groups
16 mic/line (XLR/TRS combo)+ 1 stereo line (RCA pin)
16 (8 XLR + 8 TRS phone)
1 (for NY64-D)
8 Effects + 10 GEQ
Recording:34-track / Playback:34-track
Recording: 2-track (USB HDD/SSD) / Playback: 2-track(USB HDD/SSD/Flash memory)
48 kHz
Less than 2.6 ms, INPUT to OMNI OUT, Fs=48 kHz
Resolution = 10-bit, +10 dB to –138 dB, –∞ dB all faders
+0.5, –1.5 dB 20 Hz–20 kHz, refer to +4 dBu output @1kHz, INPUT to OMNI OUT
Less than 0.05% 20 Hz–20 kHz @+4 dBu into 600 Ω, INPUT to OMNI OUT, Input Gain=Min.
–128 dBu typ., Equivalent Input Noise, Input Gain=Max., –85 dBu, Residual output noise, ST master off
110 dB typ., DA Converter, 108 dB typ., INPUT to OMNI OUT, Input Gain=Min.
–100 dB*1, adjacent INPUT/OMNI OUT channels, Input Gain=Min.
480 mm x 132 mm x 409 mm(18-7/8 in x 5 1/4 in x 16 1/8 in)
9.2kg (20.3 lb)
85 W
100–240 V 50/60 Hz
Operating temperature range: 0–40 °C / Storage temperature range: -20–60 °C
Quick Guide, Power Cord, NUENDO LIVE (DAW Software), Rubber stoppers(4)
Audio Interface Card (NY-64D), Foot Switch (FC5)
Fader Configuration
Sampling frequency rate (External)
TF5
TF-Rack Input / Output Specifications
Analog input characteristics
351
364
Fader Configuration
TF-Rack General Specifications
TF Seriese Input / Output Specifications
TF5
TF1
TF3
32 + 1 (Master)
16 + 1 (Master)
24 + 1 (Master)
48 (40 mono + 2 stereo + 2 return)
40 (32 mono + 2 stereo + 2 return)
Stereo + Sub
20 (8 mono + 6 stereo)
8 DCA Groups
32 mic/line (XLR/TRS combo)
16 mic/line (XLR/TRS combo)
24 mic/line (XLR/TRS combo)
+ 2 stereo line (RCA pin)
+ 2 stereo line (RCA pin)
+ 2 stereo line (RCA pin)
16 (XLR)
1
8 Effects + 10 GEQ
34x34 USB Audio Interface
2-track
48 kHz
Less than 2.6 ms, INPUT to OMNI OUT, Fs=48 kHz
100 mm motorized, Resolution = 10-bit, +10 dB to –138 dB, –∞ dB all faders
+0.5, –1.5 dB 20 Hz–20 kHz, refer to +4 dBu output @1kHz, INPUT to OMNI OUT
Less than 0.05% 20 Hz–20 kHz @+4 dBu into 600 Ω, INPUT to OMNI OUT, Input Gain=Min.
–128 dBu typ., Equivalent Input Noise, Input Gain=Max.,
–85 dBu, Residual output noise, ST master off
110 dB typ., DA Converter, 107 dB typ., INPUT to OMNI OUT, Input Gain=Min.
–100 dB*1, adjacent INPUT/OMNI OUT channels, Input Gain=Min.
716 mm × 225 mm × 599 mm
866 mm × 225 mm × 599 mm
510 mm × 225 mm × 599 mm
(28.2in x 8.9in x 23.6in)
(34.1in x 8.9in x 23.6in)
(20.1in x 8.9in x 23.6in)
17.0 kg (37.5lb)
20.0 kg (44.1lb)
13.5 kg (29.8lb)
110 W
120 W
100 W
100–240 V 50/60 Hz
Operating temperature range: 0–40 °C
Storage temperature range: -20–60 °C
Quick Guide, Power Cord, CUBASE AI download information
Rack-mount Kit RK5014 (for TF1), Expansion Card, Foot Switch (FC5)
374 (14 3/4in)
409 (16 1/8in)
TF Seriese General Specifications
351
7.2
Specifications
24
METER
Post FADER
TO FX1/FX2
32
ON
SUB
PAN
ST
ON
SEND
TO AUX1-8
ON
SEND
TO MATRIX1-4
CUE
AUX1
TO MATRIX1-4
AUX10
FlexGEQ
CUE
CUE
[ST IN 1]
-10dBV
USB IN 1-8
8
SLOT IN 33-40
8
BA
BA
AD
Pre DG
INPUT
SELECT
ST IN 1L
ST IN 1R
METER
HPF
Pre HPF
-10dBV
BA
BA
SUB
PAN
ST
METER
ON
TO FX1/FX2
TO AUX1-8
TO AUX9/10-19/20
CUE
Same as CH1-32
Same as CH1-32
Same as CH1-32
Same as CH1-32
ST IN 2L
ON
METER
COMP
GAIN Φ
AUX8 OUT
METER
METER
METER
FADER
INSERT
EFFECT
COMP
DA
+
-
[OMNI OUT 3]
+4dBu
TRIM
DA
[INPUT1-16]
+4dBu
COMBO JACK
+
-
[OMNI OUT 16]
+
-
16
AD
INPUT
SELECT
USB IN 1-32
BAL
ON
GAIN Φ
Φ
FADER
( DCA)
METER
MATRIX1
INPUT
SELECT
METER
32
ON
TO AUX1-8
ON
TO AUX9/10-19/20
SLOT IN 63
SLOT IN 64
SEND
MATRIX1
ON SEND
AUX1
PAN
ON
TO AUX1-8
ON
SEND
TO AUX1-8
ON
SEND
ON
AUX1
AUX2
AUX1
AUX2
PAN
AUX8
AUX9
AUX10
AUX19
AUX20
FX1
FX2
ST L
ST R
SUB
CUE L
CUE R
MATRIX1
MATRIX2
MATRIX3
MATRIX4
:
TO MATRIX1-4
SUB
LEVEL SUB
FX1,2 RTN
FX1
CUE
AUX1
METER
ON
ST
AUX10
METER
FADER
DELAY
RTA
DA
+
-
[OMNI OUT 1]
TRIM
DA
+
-
[OMNI OUT 2]
TRIM
DA
+
-
[OMNI OUT 3]
+4dBu
+4dBu
CUE
CUE
GAIN
SUB OUT
METER
ON
COMP
GAIN
AUX1 OUT
AUX2 OUT
AUX8 OUT
Pre FADER
Post FADER
AUX9/10-19/20
METER
AUX9 OUT
AUX10 OUT
+4dBu
:
:
:
METER
Post EQ
SEND
( DCA CUE )
[ST IN]
METER
ON
GAIN Φ
Pre FADER
Post FADER
CUE
LOGIC
-10dBV
MATRIX1 OUT
MATRIX2 OUT
MATRIX3 OUT
MATRIX4 OUT
BA
BA
AD
METER
MONO
TRIM
DA
+
-
[OMNI OUT 8]
TRIM
DA
+
-
[OMNI OUT 9]
TRIM
DA
+
-
[OMNI OUT 10]
TRIM
DA
+
-
[OMNI OUT 11]
+4dBu
METER
METER
4BAND
EQ
METER
FADER
INSERT
EFFECT
COMP
METER
BAL
ON
GAIN
ST
AUX9 OUT
AUX10 OUT
+4dBu
+4dBu
+4dBu
:
:
:
TRIM
DA
[OMNI OUT 16]
+
-
+4dBu
AUX19 OUT
AUX20 OUT
MATRIX1
SUB LEVEL
SEND
SEND
ST IN L
ST IN R
MONITOR
LEVEL ON
MONITOR OUT L
REC L
REC R
USB
HOST
I/F
[PHONES]
Sample Rate
Convertor
4
4
8
12
3
4
DIRECT OUT 1-32 ( as SLOT OUT 1-32 )
AUX OUT 1-8 ( as SLOT OUT 33-40 )
AUX OUT 9-20 ( as SLOT OUT 41-52 )
MATRIX OUT 1-4 ( as SLOT OUT 53-56 )
STEREO OUT L/R, SUB OUT, MONITOR OUT
( as SLOT OUT 57,58,59,61,62 )
INPUT
SELECTOR
USB TO HOST
RTA
DIRECT OUT 1-32
REC L
REC R
USB IN 1-34
INPUT
SELECT
TO FX1/FX2
ON
TO AUX1-8
ON
SEND
ON
TO AUX9/10-19/20
SLOT IN 63
SLOT IN 64
ON SEND
CUE
34
AUX1
PAN
DELAY
5
2
CUE
LOGIC
2
AUX9
AUX10
AUX9
AUX10
METER
MONO
32
8
2
MATRIX1 OUT
MATRIX2 OUT
MATRIX3 OUT
MATRIX4 OUT
MONITOR OUT L
MONITOR OUT R
2
2
CUE
SUB
LEVEL SUB
DA
DA
METER
FADER
(DCA)
METER
ON
ST
TO AUX1-8
TO AUX9/10-19/20
CUE
Same as ST IN 1,2
Same as ST IN 1,2
Same as ST IN 1,2
[PHONES]
PHONES
LEVEL
[iPad]
REC
SELECT
CUE
METER
PLAYBACK L
PLAYBACK R
FX2
REC L
REC R
REC
LEVEL
ST L Pre FADER
ST R Pre FADER
AUX1 Pre FADER
AUX2 Pre FADER
:
AUX8 Pre FADER
PLAYBACK
Level
USB
HOST
I/F
SLOT
Sample Rate
Convertor
CUE
DIRECT OUT 1-32 ( as SLOT OUT 1-32 )
AUX OUT 1-8 ( as SLOT OUT 33-40 )
AUX OUT 9-20 ( as SLOT OUT 41-52 )
MATRIX OUT 1-4 ( as SLOT OUT 53-56 )
STEREO OUT L/R, SUB OUT, MONITOR OUT
( as SLOT OUT 57,58,59,61,62 )
SLOT IN 1-32 ( as CH 1-32 INPUTs )
RTA
[USB TO HOST]
MONITOR
LEVEL ON
DELAY
FX1
Expansion
SLOT
GAIN
Pre FADER
Post FADER
( DCA CUE )
METER
32
8
12
4
METER
ON
MONITOR / CUE
AUX1
AUX2
AUX1
AUX2
PAN
FADER
4BAND
EQ
CUE
FX1
SEND
SEND
METER
METER
METER
METER
32
USB
I/F
MATRIX1-4
ST
PHONES
LEVEL
SLOT IN 1-32 ( as CH 1-32 INPUTs )
SLOT IN 33-40 ( as CH 33-40 INPUTs: TF5/TF3 )
SLOT IN 63, 64( as ST IN 2 INPUTs )
32
16
METER
ON
FX1,2 RTN
SLOT
CUE
CH1-32 Pre FADER
CH33-48 Pre FADER( TF5, TF3 )
ST IN 1,2 Pre FADER
FX1,2 RTN Pre FADER
AUX1-8 Pre FADER
AUX9-20 Pre FADER
ST, SUB Pre FADER
MATRIX1-4 Pre FADER
FADER
( DCA)
METER
METER
Post EQ
[iPad]
PLAYBACK
Level
METER
USB IN 33
USB IN 34
MONITOR OUT R
REC
SELECT
CUE
SUB
LEVEL SUB
ST IN 1,2
PLAYBACK L
PLAYBACK R
DA
DA
REC
LEVEL
INPUT
SELECT
ST IN R
DELAY
METER
Same as ST IN 1,2
Same as ST IN 1,2
Same as ST IN 1,2
TRIM
CUE
2
2
2
2
PLAYBACK L
PLAYBACK R
FlexGEQ
MATRIX1
METER
FADER
4BAND
EQ
TO MATRIX1-4
ON
COMP
METER
METER
METER
AUX9
PAN
CUE
ST IN L
FX1
STEREO OUT L
STEREO OUT R
Pre FADER
Post FADER
AUX1-8
AUX1
PAN
MATRIX1
METER
ST L Pre FADER
ST R Pre FADER
AUX1 Pre FADER
AUX2 Pre FADER
:
AUX8 Pre FADER
GAIN
Post EQ
SEND
MATRIX1
METER
FADER
2BAND
EQ
LPF
Post PAN L
Post PAN R
SEND
SEND
METER
METER
TO MATRIX1-4
2
AUX9
AUX10
AUX9
AUX10
BAL
COMP
Post EQ
SUB
SUB
METER
TO AUX1-8
TO AUX9/10-19/20
CUE
Post FADER
TO FX1/FX2
TO AUX9/10-19/20
MONITOR / CUE
CUE
FADER
(DCA)
ST
AUX2
( DCA CUE )
METER
SUB
PAN
ON
Pre FADER
METER
ON
CUE
SUB
LEVEL
SEND
SEND
4BAND
EQ
CUE
FX1
SEND
SEND
CUE
METER
COMP
FlexGEQ
MATRIX1
METER
FADER
SEND
SEND
MATRIX1
SUB LEVEL
MATRIX1-4
ST
ON
ON
USB IN 33
USB IN 34
GATE
Post EQ
4BAND
EQ
TO MATRIX1-4
METER
METER
METER
USB OUT 1-32, (SLOT OUT 1-32)
METER
METER
FADER
(DCA)
Pre HPF
32
METER
STEREO
CUE
TO FX1/FX2
ST IN 2R
METER
METER
HPF
SUB
LEVEL SUB
METER
ON
DIRECT OUT
:
AUX1
AUX2
METER
Pre DG
GAIN/TRIM
+4dBu
Pre DG
Pre HPF
Pre FADER
Post FADER
CH1-32
+48V
AUX19 OUT
AUX20 OUT
SUB
METER
FX2
TRIM
AUX1 OUT
AUX2 OUT
ST
Post EQ
AD
[OMNI OUT 2]
METER
Pre FADER
Post FADER
4BAND
EQ
TO MATRIX1-4
ST IN 1,2
METER
METER
Post PAN L
Post PAN R
Post FADER
PRE FADER
PLAYBACK L
PLAYBACK R
[ST IN 2]
FADER
(DCA)
METER
SUB
LEVEL
......
Φ
SUB OUT
GAIN Φ
AUX9/10-19/20
CH33-40 ( TF5, TF3 )
METER
+
-
METER
Post EQ
SEND
MATRIX1
METER
FADER
4BAND
EQ
( DCA CUE )
INPUT
SELECT
DA
SLOT IN 1-32
METER
METER
METER
AUX9
PAN
CUE
INPUT 1-8 ( TF5 ) 8
INPUT 9-16( TF3)
TRIM
Pre FADER
Post FADER
AUX1-8
AUX1
PAN
ON
COMP
ON
+4dBu
:
:
:
Post EQ
SEND
MATRIX1
METER
FADER
2BAND
EQ
LPF
Post PAN L
Post PAN R
FX1
SEND
METER
METER
... ...
AUX8
AUX9
AUX10
AUX19
AUX20
FX1
FX2
ST L
ST R
SUB
CUE L
CUE R
MATRIX1
MATRIX2
MATRIX3
MATRIX4
:
SUB
AUX2
ON
[OMNI OUT 1]
+
-
Post EQ
METER
SEND
TO AUX1-8
TO AUX9/10-19/20
DA
ST L
ST R
SUB
AUX1
AUX2
:
AUX20
OSC
LEVEL
OMNI OUT PATCH
32
TRIM
CUE
SUB
LEVEL
ON
Pre FADER
Φ
STEREO OUT L
STEREO OUT R
USB OUT 1-32, (SLOT OUT 1-32)
METER
COMP
Post EQ
GAIN
Φ
OSCILLATOR
... ...
SLOT IN 1-32
GATE
Pre HPF
MATRIX1
BAL
COMP
ON
... ...
USB IN 1-32
METER
FADER
(DCA)
HPF
Φ
Pre DG
GAIN/TRIM
METER
METER
FlexGEQ
TF-Rack
METER
FADER
SEND
SEND
MATRIX1
METER
......
METER
4BAND
EQ
TO MATRIX1-4
METER
METER
METER
PAN LINK
AD
INPUT
SELECT
STEREO
OMNI OUT PATCH
32/24/16
ON
DIRECT OUT
ON
... ...
COMBO JACK
+
-
Pre DG
Pre HPF
Pre FADER
Post FADER
CH1-32
+48V
METER
Block Diagram
... ...
[INPUT1-32](TF5)
[INPUT1-24](TF3)
[INPUT1-16](TF1)
ST L
ST R
SUB
AUX1
AUX2
:
AUX20
OSC
LEVEL
... ...
OSCILLATOR
PAN LINK
TF Seriese
:
AUX1
AUX2
Block Diagram
CH1-32 Pre FADER
ST IN 1,2 Pre FADER
FX1,2 RTN Pre FADER
AUX1-8 Pre FADER
AUX9-20 Pre FADER
ST, SUB Pre FADER
MATRIX1-4 Pre FADER
SLOT IN 63, 64( as ST IN 2 INPUTs )
32
4
4
8
12
3
4
INPUT
SELECTOR
USB TO HOST
RTA
DIRECT OUT 1-32
REC L
REC R
USB IN 1-34
32
8
12
4
5
Expansion
SLOT
32
2
32
34
USB
I/F
[USB TO HOST]
26
P.O.BOX1, Hamamatsu Japan
www.yamahaproaudio.com
*All specifications are subject to change without notice. *All trademarks and registered trademarks are property of their respective owners.
*Apple, the Apple logo, iPad, iPhone, iPod touch and Mac are trademarks of Apple Inc., registered in the U.S. and other countries. App Store is a service mark of Apple Inc.
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