Two years ago, Yamaha unveiled its popular CL series mixers to much fanfare. Here was a solid digital console with a great feature set, including Dante interfacing, onboard preamps, Dan Dugan automixing, Rupert Neve-designed signal processing and the fast GUI of Centralogic control. The CL Series was an immediate hit.
Just a few months ago, at Musikmesse/ProLight+Sound, Yamaha debuted the QL series. Based on the structure of the CL series, the new QL mixers offer many of the features of the CL — including Dante networking, Dugan automixing, local I/O, Centralogic control, easy expandability and more — but in more affordable packages that appeal to a much wider audience.
Carrying an MSRP of $8,499 for the rack-mountable 16-fader QL1 and $16,499 for the 32-channel strip QL5, both a clearly targeted at the small to medium scale live tour sound, house of worship installations, corporate A/V and the portable P.A./rental market.
I/O to Go!
The outward appearance of the QL1 and QL5 is actually somewhat misleading. From what seem to be straightforward 16- and 32-channel models they actually provide a mixing channel capability of 32 or 64 inputs, plus eight stereo inputs. Plus, via the Dante input, up to another 32-inputs (16 in the case of the QL1) can be brought in from Yamaha’s R-series line of stage boxes and I/Os, such as the Rio3224-D (with its 32-ins, 16-outs and four AES outputs), the 16-in/8-out Rio1608-D, the compact 8-channal single-rack Ri8-D or any other Dante source. Access to the QL5’s full 64 inputs is via a simple bank shift switch. And two QL consoles can be cascaded for more inputs.
Here, the QL I/O architecture really shines, for users who need more versatility or flexibility. As a replacement for an analog board in an existing installation, the QL mixers are pretty much plug-and-play and their compact footprint (especially with the rack-mountable QL1) fit in nearly anywhere. At the same time, the ease of Dante connectivity allows for both the possibility of future expansion and coverage for needs that change on a day to day basis, as well as providing an ease of live recording and track capture, with all of this happening via a simple Ethernet cable.
The integration of the I/O system is impressive. This same power also allows for setting up redundant networks to provide a fail-safe operation in can’t-fail live situations. Additionally, if several QL consoles are sharing the same I/O’s (such as monitor/FOH consoles, or someone doing a secondary broadcast/live mix in a house of worship), the QL has a Gain Compensation feature that will maintain network audio streams at a constant level (applied in the digital domain) so that the total gain sent via the network stays at a constant level.
At the same time, direct “port-to-port” patching between input and output ports permits direct routing of QL analog inputs and outputs to/from external Dante devices and the QL console can function as a remote I/O device for any other QL or CL mixer. Remote control of head amps from any console or stagebox is possible over the network, and a “recall safe” function allows setting up permissions of which device can make gain changes.
Getting Physical
The QL5 is just under 33 inches wide and the QL1 is 19 inches (less end caps) and an optional QL1 rack kit is offered. The QL weighs in at 32 pounds and the QL5 is 48 pounds. As mentioned earlier, both have a fairly compact footprint. And while both consoles are ideally suited for portable applications, neither provides handles or handgrips that would help when transporting the boards or removing them from roadcases (a highly recommended suggestion). At the same time, the side panels have a slightly curved profile, so temporarily setting the board on its side during transport or setup (which we’ve all done a million times) is ill advised.
The QL5 rear panel has the 32 XLR inputs to its 32 onboard mic preamps, as well as 16 XLR “omni” outputs, with the latter assignable to sends, matrix, mains outs, etc. On the digital side, connections include primary and secondary Dante ports (with LEDs that indicate the presence of network signals, an AES output pair on a standard XLR-M, BNC word clock I/O, programmable GPI closure port (5-in/5-out) on a 15-pin D-sub, MIDI in/out and a RJ-45 network port for connecting a computer. There are also two expansion ports for installing optional mini-YGDAI I/O cards or third-party DSP cards. For example, the MY8-Lake, which provides 4-in/12-out linear phase crossover functions, Mesa EQ and more.
Two 4-pin XLR’s are provided for attaching 12-volt gooseneck lamps. Next to the power switch and locking-style IEC power socket is a small fan that’s relatively noiseless, but helps keep internal temperatures under control. On the subject of AC, the QL series mixers operate at any voltage from 100 to 240 VAC. One nice, unexpected touch was the sturdy dust cover included with the QL5, something that’s great for fixed installs.
Cruising the Surface
The mix surface is uncluttered and logically laid out, with most of the action centered around the large, high-res color touch screen panel. Access to channel parameters is intuitive and fast.
The fader strips are a narrow 0.75-inch wide, which helps keep the footprint under control, yet can make things a little tight when quickly grabbing for a fader during a show. Each of these channel strips has a motorized 100mms long-throw fader, dedicated mute (channel on), cue and channel select buttons, along with a six-step LED level display and a backlit channel ID. The latter indicates the channel name, fader value, etc., and it can be user-customized or simply set to indicate the channel name/number. Below the channel name is a channel color bar, with multiple colors (or none), again user-selectable. I found this useful for visually grouping certain inputs, say, drums in red or vocals in blue, which gave a quick indication without having to read the small writing (hey, I’m getting old) on the channel IDs.
Surrounding the touch screen are hardware control switches and rotary pots for selecting the send/matrix controls, dedicated rotaries for gain, dynamics, pan, high pass filter, equalizer Q/frequency/gain, EQ band select (lows, two mids and HF), a “touch and turn” knob that takes whatever currently selected on the touch screen, 12 user-definable switches and the all-familiar bank switches. The latter sets the faders to control faders 1-32, 33 to 64, stereo mix in/DCA’s or main mix and matrix outs.
Next to the 32 channel strips are two master channel strips, which mimic the look and layout of the individual channels. The hardware control have a quality feel and the navigation is straightforward. The right hand of the touch screen is mostly relegated to master channel functions, with large, responsive meters of main left/right/mono outs and stereo cue levels.
From this portion of the screen (and you’ll use this a lot), the user can select the I/O device, bring up the Virtual Rack (onboard signal processing), bring up the 300-scene store/recall window or Recorder screen for record/play functions — either to 2-track USB storage or Nuendo Live multi-track play/capture, with the latter being perfect for virtual sound checking. And one touch of the I/O Device button provides instant control to accessing parameters/gain, etc. on any remote devices or stageboxes on the network.
Let the Fun Begin
The fun on the QL5 comes in with the wide variety of onboard signal processing — which can equal or better the sound of most third-party plug-ins on the market. Even in the days before digital modeling, Yamaha had long been a leader in DSP and reverb effects, and now its VCM (Virtual Circuitry Modeling, which creates highly accurate digital copies of analog hardware) is well into maturity.
The QL5’s onscreen “virtual rack” can load up to eight VCM processors, including the recently developed VCM emulations of the 5043 compressor created with Rupert Neve, who collaborated in developing VCM versions of his Portico 5033 5-band equalizer and the 5043 compressor/limiter. Also in this included “Premium Rack” series are the not-too-subtly-named U76 analog compressor (which even includes the original’s push-all-buttons overdriven attack mode); the Teletronix-based Opt-2A electro optical leveling amplifier; Pultec-style EQ1A passive EQ; and the Dynamic EQ, which dynamically adjusts EQ gain to provide for surgical-type limiting/compression/de-essing.
The “outboard” options continue, with some 46 effects selections ranging from Yamaha REV-X (REV series) reverbs to the analog 1970s Comp 276 and Comp 260 dynamics, the EQ 601 ‘70s equalizer, and Open Deck tape saturation emulation. Within the GEQ rack, designed for inserting graphic EQ’s in sends, matrix or main outs, users can select from 31- or 16-band graphics, or insert up to 16 Dan Dugan Automixer units into the input channels.
For the right user and application, the built-in Automixer is perhaps one of the strongest attractions of the QL5, even if limited to only 16 channels. The QL employs a custom version of the famed Dugan algorithm that was developed and from both an audio and operations standpoint, this version is every bit as good as the original, and is just what every speech automixer on the market aspires to be.
More to Come
The QL mixers also support Stagemix QL, a free app offering wireless remote control of console functions, monitor mixes, etc. via an iOS device from anywhere within wireless range. And the right side of the mix surface has an area to hold your iPad.
One Yamaha Rio3224-D on stage and a QL5 at monitors and you’re a Ethernet cable away from having 64 true mix inputs at FOH. Another Ethernet cable, and the implementation of recording/track capture to Nuendo or Dante is easy — and well-implemented. Expandability and scalability is simply achieved via adding Rio units or other Dante peripherals — a market which seems to be gaining momentum.
The 48kHz audio and overall sound quality is very good. The preamps are top-notch and offer ample headroom. The depth and selection of the onboard processing is excellent. The GUI is fast and intuitive, the audio quality equals its big brother CL5, with versatile, great sounding onboard effects. Meanwhile, the QL5 price is lower, which opens it up to more users in the mid-market. Sounds like a real contender.
At a Glance
Versatile, Expandable, Scalable
The QL5 offers many of the features of the CL5 — albeit with a somewhat reduced feature set — but with identical audio performance at an attractive price for the rental or installation markets.
Manufacturer: Yamaha
PROS
Great Dante implementation; top-notch effects; easily expandable; intuitive operation.
CONS
Tight spacing on channel faders; 48kHz operation; could use handles for more secure moving and transport.
MSRP Price: QL1, $8,499; QL5, $16,499.
More Info: www.yamahaca.com
