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Ample input capacity and hands-on control in a compact console that can handle a wide range of applications.
|Fader Configuration||32 + 1 (Master)||24 + 1 (Master)||16 + 1 (Master)|
|Mixing Capacity||Input Channels||48 (40 mono + 2 stereo + 2 return)||48 (40 mono + 2 stereo + 2 return)||40 (32 mono + 2 stereo + 2 return)|
|Aux Buses||20 (8 mono + 6 stereo)||20 (8 mono + 6 stereo)||20 (8 mono + 6 stereo)|
|Input channel functions||8 DCA Groups||8 DCA Groups||8 DCA Groups|
|I/O||Inputs||32 mic/line (XLR/TRS combo) + 2 stereo line (RCA pin)||24 mic/line (XLR/TRS combo) + 2 stereo line (RCA pin)||16 mic/line (XLR/TRS combo) + 2 stereo line (RCA pin)|
|Outputs||16 (XLR)||16 (XLR)||16 (XLR)|
|On-board processors||DSP||8 Effects + 10 GEQ||8 Effects + 10 GEQ||8 Effects + 10 GEQ|
|Sampling frequency rate||Internal||48 kHz||48 kHz||48 kHz|
|Signal delay||Less than 2.6 ms, INPUT to OMNI OUT, Fs=48 kHz||Less than 2.6 ms, INPUT to OMNI OUT, Fs=48 kHz||Less than 2.6 ms, INPUT to OMNI OUT, Fs=48 kHz|
|Fader||100 mm motorized, Resolution = 10-bit, +10 dB to –138 dB, –∞ dB all faders||100 mm motorized, Resolution = 10-bit, +10 dB to –138 dB, –∞ dB all faders||100 mm motorized, Resolution = 10-bit, +10 dB to –138 dB, –∞ dB all faders|
|Total harmonic distortion||Less than 0.05% 20 Hz–20 kHz @+4 dBu into 600 Ω , INPUT to OMNI OUT, Input Gain=Min. (Measured with a –18 dB/octave filter@80 kHz)||Less than 0.05% 20 Hz–20 kHz @+4 dBu into 600 Ω , INPUT to OMNI OUT, Input Gain=Min. (Measured with a –18 dB/octave filter@80 kHz)||Less than 0.05% 20 Hz–20 kHz @+4 dBu into 600 Ω , INPUT to OMNI OUT, Input Gain=Min. (Measured with a –18 dB/octave filter@80 kHz)|
|Frequency response||+0.5, –1.5 dB 20 Hz–20 kHz, refer to +4 dBu output @1kHz, INPUT to OMNI OUT||+0.5, –1.5 dB 20 Hz–20 kHz, refer to +4 dBu output @1kHz, INPUT to OMNI OUT||+0.5, –1.5 dB 20 Hz–20 kHz, refer to +4 dBu output @1kHz, INPUT to OMNI OUT|
|Dynamic range||110 dB typ., DA Converter, 107 dB typ., INPUT to OMNI OUT, Input Gain=Min.||110 dB typ., DA Converter, 107 dB typ., INPUT to OMNI OUT, Input Gain=Min.||110 dB typ., DA Converter, 107 dB typ., INPUT to OMNI OUT, Input Gain=Min.|
|Hum & noise level||Equivalent input noise||–128 dBu typ., Input Gain=Max. (Measured with an A-Weight filter)||–128 dBu typ., Input Gain=Max. (Measured with an A-Weight filter)||–128 dBu typ., Input Gain=Max. (Measured with an A-Weight filter)|
|Residual output noise||–85 dBu, ST master off (Measured with an A-Weight filter)||–85 dBu, ST master off (Measured with an A-Weight filter)||–85 dBu, ST master off (Measured with an A-Weight filter)|
|Crosstalk||–100 dB (Measured with a –30 dB/octave filter@22 kHz), adjacent INPUT/OMNI OUT channels, Input Gain=Min.||–100 dB (Measured with a –30 dB/octave filter@22 kHz), adjacent INPUT/OMNI OUT channels, Input Gain=Min.||–100 dB (Measured with a –30 dB/octave filter@22 kHz), adjacent INPUT/OMNI OUT channels, Input Gain=Min.|
|Power requirements||100–240 V 50/60 Hz||100–240 V 50/60 Hz||100–240 V 50/60 Hz|
|Power consumption||120 W||110 W||100 W|
|Dimensions||W||866 mm (34.1in)||716 mm (28.2in)||510 mm (20.1in)|
|H||225 mm (8.9in)||225 mm (8.9in)||225 mm (8.9in)|
|D||599 mm (23.6in)||599 mm (23.6in)||599 mm (23.6in)|
|Net weight||20.0 kg (44.1lb)||17.0 kg (37.5lb)||13.5 kg (29.8lb)|
|Accessories||Quick Guide, Power Cord, Nuendo Live||Quick Guide, Power Cord, Nuendo Live||Quick Guide, Power Cord, Nuendo Live|
|Options||Expansion Card, Foot Switch (FC5)||Expansion Card, Foot Switch (FC5)||Rack-mount Kit RK5014, Expansion Card, Foot Switch (FC5)|
|Others||Operating temperature range: 0–40 °C, Storage temperature range: -20–60 °C||Operating temperature range: 0–40 °C, Storage temperature range: -20–60 °C||Operating temperature range: 0–40 °C, Storage temperature range: -20–60 °C|
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.
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.
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.
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.
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.
The Yamaha R&D team developed a selection of optimized QuickPro Presets™ for a wide variety of microphones and output equipment by working in collaboration with well-respected engineers and major manufacturers such as Audio-Technica, FitEar, Sennheiser, Shure, Ultimate Ears and Westone Laboratories. 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. For input channels we prepared more than 200 presets that range from vocals to drum sets. All the presets were precisely tuned by using a wide range of actual microphones, instruments. For output channels we developed presets for a variety of speaker systems and in-ear monitors such as Ultimate Ears with several variations to match different environments and room sizes. 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. The 1-knob EQ and 1-knob COMP can be used with QuickPro Presets™ providing a super-streamlined way to tweak your sound. In addition to the onboard presets, new QuickPro Presets™ will be added to the Yamaha Pro Audio website, so be sure to check for updates.
“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.”
We are thrilled to have had the opportunity to collaborate with Yamaha on their acclaimed world-class digital mixers. Their advice, as well as feedback from engineers in the field, has been unreservedly applied in creating EQ presets for our FitEar custom in-ear monitors. The outstanding control capabilities of Yamaha digital mixers merge with years of accumulated in-ear monitoring know-how to support smooth, efficient operation.
“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 combinations. These preset functions give the sound technician a solid basis to start from. All that is needed is to adapt the EQ-ing to the specific room and the instruments.”
“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.”
"True technical innovations melt into the background and simply become part of life. Marvelous innovations make you wonder what you ever did before. And when you combine the collective industry knowledge of Yamaha, Shure, Sennheiser, Audio-Technica, and Ultimate Ears, art happens. Ultimate Ears is honored to share our outboard presets for in-ear monitors. We know that these combinations will help you take your performance to the next level."
"Westone is thrilled and honored to have had the opportunity to work with Yamaha and include the presets for our custom-fit and universal-fit in-ear monitors to the TF Series of mixers. The complete range of Westone products is represented (we couldn’t be more excited) including our ES Series of custom-fit models, and both the UM Series, and the revolutionary AM Series of passive-ambient monitors. The QuickPro presets offered in the Yamaha TF Series allow engineers to quickly and easily set a starting point for their IEM mix."
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.