For years, Yamaha’s digital mixers seem to set a standard by which other consoles are judged. There is no question that the PM1D, PM5D and M7CL are legendary consoles that defined their respective time periods and market segments. The CL and QL series consoles are no exception, and the PM10 Rivage is poised to be another staple of large-scale productions, much like its predecessor the PM1D.
In the high-end of the digital console market, there are a plethora of exceptional consoles that are worthy of their price tags. The top of the line consoles are so feature-rich and sound so amazing that it’s almost difficult to be wowed by them anymore. What has impressed me over the last few years has not been in the high end of the market, but at the lower end of the price spectrum.
Enter the TF series of consoles, which Yamaha began shipping as of May 2015. Based on Yamaha’s TouchFlow technology, the TF series are truly one of-a-kind consoles that only Yamaha could deliver at this price point. Drawing on almost 30 years of digital console R&D and manufacturing experience, the TF series has something for everyone, from working musicians running their own sound, to the seasoned engineer needing an affordable, compact and feature-rich console. The TF line is clearly aimed at an underserved but growing market of users who require the flexibility and power of a digital console at an affordable price. But don’t let its target market fool you, the TF series is packed with features often found on consoles costing four times as much.
Three Models: No Waiting
I started my research into the TF series by taking a look at the different models in the lineup. The flagship TF5 is capable of 48 total mixing channels and 20 aux buses on 33 motorized faders, and is loaded with 32 analog inputs and 16 analog outputs onboard. In order to take advantage of the additional 16 mixing channels that the surface doesn’t offer I/O for, the console can be connected to the optional Tio1608-D Dante equipped I/O rack, which will offer an additional 16 inputs and eight outputs when it arrives in Spring 2016. In fact, up to three Tio1608-D I/O racks can be connected to a TF series console, providing up to 48 inputs and 24 outputs of remote I/O connected in daisy chained configuration. In order to take advantage of the Dante-0enabled I/O racks, the console must be fitted with a single NY64-D Audio Interface Card (in Yamaha’s new “NY” card format), which adds Dante connectivity to the surface.
CHECK OUT THE VIDEO TOUR OF THE TF CONSOLES ON FOH-TV
The TF3 is the next model in the series, and it surprisingly offers the same input channel and bus capacity of the larger TF5, but on 25 motorized faders. The smaller surface of the TF3 does reduce the amount of onboard I/O to 24 analog inputs, so this console is the prime candidate for adding the Dante card and Tio1608-D I/O rack. Finally, the smallest surface in the lineup is the TF1, which still offers the same generous 48 input mixing channels and 20 aux buses, and has 16 analog inputs and 16 analog outputs. The TF1 is small enough to be rack mounted, which will certainly appeal to a subset of users that require the smallest possible footprint. All three of the surfaces offer identical recording and playback capabilities that consist of a 34 x 34 USB 2.0 interface, as well as 2 x 2 recording and playback interface via a USB storage device.
Hands-On Testing: The Surface
I received a TF3 as my demo console, and as soon as I turned it on, several features were immediately apparent. Under each input channel’s scribble strip is a bright and colorful strip used to color-code channels into logical groupings. The scribble strip itself is also very large and high resolution. Once the TF3 fully booted for the first time, a tutorial appeared on the multi-touch screen that gave a rundown on some of the main features and console workflows. In typical fashion, I wanted to close the tutorial and dive right in, but I resisted the urge and powered through it, and it was actually very helpful.
As I started to move my way around the surface, I really appreciated the layout and ergonomics, long one of Yamaha’s strong suit. The multi-touch screen is responsive, and the GUI elements are just the right size for touch operation. While the screen is more than bright enough for indoor operation, it won’t be bright enough outdoors, so break out the cardboard sunhood that you’ve fashioned for your other digital consoles. The buttons have a nice click that provides tactile feedback, and the knobs have an incremental click offering a feeling of precision control. The faders felt fairly smooth, although the fader caps themselves look and feel a bit cheap. For a console at this price point, I can’t complain about the overall aesthetics. As I finished my cursory overview of the surface, I found a nice resting place for an iPad to run Yamaha’s TF StageMix application.
Hands on the Input Channels
After making my way around the surface and getting the lay of the land, I started to dig deeper into the input channels. The first thing I looked for was the input patching. I was searching for that familiar PM5D-style grid, but I never found it. It turns out that the TF inputs are fixed one to one. That was a bit disappointing, but I’m sure Yamaha made a conscious decision to keep the patching simple based on the target market. Still, pro users will long for a soft patch on this console, and it will also be interesting to see how the TF handles Dante patching once the stage boxes are released. Working my way down the input channel strip, I found a layout familiar to any Yamaha user; the head amp, a 4-band EQ + high pass filter, a compressor, a gate and routing section. However, there were a few unique features that were jumping out at me.
Entering the head amp section of the TF, I found a distinctive graphical level display that Yamaha calls “GainFinder.” In an attempt to make setting gain structure more intuitive, there is a 5-segment horizontal meter, the center bar of which is a large green indicator denoting “ideal” gain structure. This is coupled with a more traditional vertical meter to the right, providing excellent visual feedback about the gain setting for each input.
Second, the multi-touch screen is excellent for dealing with the input equalizers. The multi-touch screen was very responsive, but is admittedly not for everyone. Some engineers prefer the precision of a knob, so Yamaha has included a “touch and turn” knob below the lower right corner of the display, as well as four totally programmable user-defined knobs below the screen. What really caught my eye in the EQ section was a unique function called “1-knob.” The EQ section can be operated in the traditional style, with complete control over the parameters of each filter, or you can switch to “1-knob.”
The 1-knob mode has two different settings; Intensity and Vocal. The Intensity mode is the default, which varies the gains of the filters you already have in place. For example, let’s say on your kick drum you’ve got a 6 dB boost at 70 Hz, and a 6 dB cut at 300 Hz. When you engage 1-knob and start to apply it, it will boost your 60 Hz filter even more, and cut your 300 Hz filter further as well. It seems to only modify the gain of filters you already have engaged, and doesn’t touch the frequency or Q, hence the name “Intensity.” If you switch to the Vocal 1-knob mode, the first thing that happens is the EQ is flattened. As you dial up 1-knob in Vocal mode, it applies varying degrees of “typical” vocal equalization that will feel familiar to any experienced engineer.
The input channels also include a wealth of presets available to help speed up the EQ workflow. These aren’t generic kick, snare, bass, guitar and vocal presets, but rather a well-thought-out set of presets that are specific to many instrument and microphone combinations. Yamaha developed these equalizer presets in conjunction with Shure, Sennheiser and Audio-Technica, as well as a host of respected engineers.
Speaking of presets, a full complement of onboard Yamaha effects are available, including an assortment of reverbs, mono/stereo delays, echo, flange, phaser and multiband compressors.
Ample Aux Buses
All TF consoles have a generous eight mono and six stereo auxes, and the mono auxes can be linked as stereo pairs if necessary. What is really striking is the TF’s emphasis on the “Sends on Fader” workflow for monitor mixing. As with most digital consoles, the TF provides several ways to do virtually everything, but console design promotes the use of “Sends on Faders” as the best method for mixing monitors. The right edge of the console has an entire panel of buttons devoted to this feature, so every mix is immediately available with a single button press.
While sends on faders has been given a prominent place on the TF’s surface, it doesn’t quite tell the whole story. All TF models include the ability to have up to ten iOS devices controlling aux sends, using Yamaha’s MonitorMix application. Couple that with up to three additional devices running TF StageMix or TF Editor, and even a large band can have independent control of their monitor mixes, reducing the demands placed on the engineer.
Other Features
At this point I had a fairly good grasp of the capabilities of the TF series, and started looking into other notable features. It’s worth pointing out that I didn’t touch the user manual once in this entire process, and I never felt I needed it because the console was so intuitive. It did take me a few minutes to find the eight DCA’s, but once I discovered them, I found them easy to program, and they have an automatic “rollout” feature that spills the selected DCA across the surface. I could easily mix an entire show just from the DCA bank because of the rollout feature, but Yamaha has also included a custom bank that can include any combination of 24 inputs, output masters or DCA’s.
I also discovered three small but ingenious buttons across the surface. First, a dedicated “Tap” button for tapping delay tempos. No, not a button that can be programmed as a tap tempo, but a button that actually says “Tap” on it, and flashes in sync with the current tempo. In the upper right of the console surface, I found two mute buttons labeled “Input” and “FX.” Essentially preprogrammed mute groups, these buttons are dedicated to the two most common mute group applications; muting all inputs, and muting all effects. Brilliant! Finally, for those who need the more traditional Yamaha “User Defined Keys,” those exist as well, directly to the right of the multi-touch display.
A free download from Yamaha’s website, TF Editor is a computer program that lets users use a PC to edit TF series console settings while away from the console in offline mode or — in an online mode— operate the console via the computer while it’s connected to the console. It’s Windows 7, 8, 8.1-based, so Mac users are left out of the fun.
The Sound
Features are great, but the sound of the console is critical. Using some industry standard Shure and E-V mics, along with pre-recorded tracks, I quickly established gain structure on both microphones and my tracks using the GainFinder feature. Based on Yamaha’s D-PRE mic amps, console’s recallable (yet discrete-design) preamps were transparent sounding and true to both voice and the mics. Yamaha’s documentation states the preamp was “painstakingly designed with a flat, wide frequency response that retains the tone and nuance of the original sound,” and what I heard lives up to their description.
The EQ’s felt responsive as well, and I was able to discern even the slightest change, whereas on some consoles I feel like I have to cut 3 dB or more before hearing any appreciable change in tone. I also tested out the 1-Knob EQ in Vocal mode on the SM58 channel, and it performed just as I expected; a typical vocal response curve, with a dip in the low-mids to compensate for proximity effect, and a slight rise in the high-mids to add some presence. This gets you there (or close to it) fast, which can really come in handy in a live environment
Conclusion
I found the TF3 to be one of the most compelling digital consoles I’ve used in the last few years. The features contained in the TF series would have cost upwards of $20,000 just five years ago, so the fact that these consoles sit in the sub-$5,000 market is truly astonishing. The console is the perfect blend of musician friendly ease-of-use and professional level control. It will be difficult for any other company to top what Yamaha has done with these consoles.
At a Glance
Fast, Flexible and Affordable
Aimed at a more affordable price point, Yamaha’s new TF Series digital consoles borrow from its successful CL and QL mixer lines, yet add in a whole new set of tricks of their own, including fast, intuitive TouchFlow technology and DSP presets that are specific to many instrument and microphone combinations.
PROS
• Cost effective, yet extremely powerful
• Easy, intuitive “Touchflow” operation
• Unique GainFinder and 1-Knob features simplify basic tasks
• Industry leading offline/online editing and remote control via OSX, Windows and iOS devices
CONS
• Fixed one-to-one input patch
• Dante stage boxes not available at console launch
• Low-resolution metering on input channel strips
TF5 Digital Console
Manufacturer: Yamaha
MSRP Pricing: TF5, $4,200; TF3, $3,500; and TF1, $2,950 (all are shipping now). The Tio1608-D stagebox and NY64-D interface card (price TBD) are scheduled to ship in Spring 2016.
More Info: www.yamahaproaudio.com
See the video tour of the TF console. CLICK HERE