Yamaha TF-3 Digital Mixer

Intuitive user interface, optimized for touchpanel operation

When Yamaha's engineers set out to design the TF series, they started from the highly refined user interfaces of existing professional consoles and focused especially on the touchpanel operation that has already proven itself in countless situations. Because most tasks can be executed solely via the touchpanel, the interface quickly becomes second nature for most users. It doesn't matter whether you already have experience with Yamaha digital consoles, have worked on other digital or analog desks, or are new to mixing: the TF consoles guide you quickly and effortlessly to the desired result thanks to a smooth and efficient workflow. And since the screen is also surrounded by physical, "real" knobs, operation becomes even more precise and easier.

Instant Operation with "Touch & Turn" Controls

If you want to fine-tune an EQ parameter, for example, the physical "Touch & Turn" control—always immediately accessible next to the touchpanel—is ideal. In addition, there are four user-definable controls that can be assigned to other parameters you need quick access to, such as compressor threshold or EQ gain. The controls always affect the currently selected channel.

Proven "Overview" and "Selected Channel" Views

As with the CL-series consoles, the "Overview" and "Selected Channel" views form the foundation of operation. The "Overview" display shows parameters for eight channels at once, while the "Touch & Turn" control provides direct access to parameters such as Gain, 1-Knob EQ, 1-Knob COMP, Gate Threshold, Effect Send Level, Pan and other general mixer parameters. Tap the highlighted parameters a second time to switch to the "Selected Channel" view, where you get more detailed access to the channel parameters.

New Features for Effortless, Faster Setup

Setting levels, EQs and compressors correctly takes experience and deep knowledge. Even experienced engineers need considerable time for basic adjustments. In addition to the intuitive user interface, the TF consoles include numerous features that simplify and speed up the configuration of these essential base parameters.

Quickly Achieve the Ideal Sound: "1-Knob COMP" & "1-Knob EQ"

An experienced engineer can do a lot with a compressor: breathe life into a guitar, give a bass more punch, tighten a snare or bring vocals forward. The "1-Knob COMP" makes all this quick and effortless without juggling multiple confusing parameters until the desired sound is achieved. The "1-Knob COMP" first appeared on Yamaha's analog boards and proved to be a valuable and popular feature. In the digital version the compressor has been further refined, making the TF consoles easy and time-saving to set up. The same concept was applied to the "1-Knob EQ", allowing simple adjustment with a single control. The "1-Knob EQ" was tuned by Yamaha's development experts together with selected engineers so you can achieve great results with minimal effort and time. The Vocal Mode helps produce a clear, defined vocal sound, while the Intensity Mode can boost or cut EQ curves selected from presets or created by you. But that's not all: the "1-Knob EQ" and "1-Knob COMP" are also available on output channels, so you can easily adapt the main sound to audience size and room. The output "1-Knob EQ" offers a Loudness Mode instead of Vocal Mode: turning the knob to the right raises SPL while maintaining optimal sound. From both the "1-Knob Comp" and the "1-Knob EQ" you can instantly jump to full compressor and EQ views to fine-tune settings if needed.

Reliable Leveling with "GainFinder"

The input signal first passes the Gain stage, where the input sensitivity of the preamp is set. If the preamp is set incorrectly, not only does sound quality suffer, but downstream parameters behave differently. Yamaha has now made this crucial base parameter easier than ever to set. With the new GainFinder function, individual signals can be leveled perfectly to ensure optimal signal quality. The user simply adjusts the channel gain until the green LED in the center of the meter stays lit as steadily as possible. Of course, the level meters still work as usual if you prefer the traditional way of setting preamps.

Pro Sound: The QuickPro Presets

Following close collaboration with top engineers, microphone makers like Audio-Technica, Sennheiser and Shure, and long tests with many mics, instruments, speakers and in-ear systems, Yamaha's developers created typical starting points suitable for many event types. With these practical presets, even newcomers can approach an ideal sound, while experienced users will appreciate sensible starting points that reduce the need for tweaks and free time for other tasks. The QuickPro Presets are sorted by instrument type and can be recalled instantly. Presets store parameters for modules like HA, EQ and Comp as well as settings like channel names and colors. The 1-Knob EQ and COMP processors are also included in QuickPro presets, making sound setup even faster and easier. The output channel library contains parameter sets optimized for Yamaha active speakers with variations tailored for different environments and room sizes. Presets for in-ear monitors are also provided. Use them when time is short or as excellent starting points for your own fine-tuning. All your personal settings can of course be saved to other memory locations.

Two Banks Full of Scenes

The scene memory consists of banks A and B, each capable of holding up to 100 scenes — a total of 200 scenes that can be prepared and recalled at any time. Many scenes come preprogrammed to give users a head start: there are scenes optimized for simplest operation with 1-Knob COMP and 1-Knob EQ, and others for experienced engineers who prefer traditional workflows with the 1-Knob functions disabled. The two banks are ideal for organizing different scene types — for example, one bank for music scenes and the other for event-specific scenes.

Efficient Workflow Thanks to an Optimized Console Layout

A careful analysis of workflows preferred by numerous top engineers resulted in a perfectly optimized arrangement of controls on the console surface that enables highly efficient operation. The TF series doesn't simply include every modern feature possible; you will only find functions that truly make sense — logically arranged and easily reachable within a design focused on visibility and usability down to the last detail.

Comprehensive Fader Bank Section

There are two "INPUT" banks and one "OUTPUT" bank. By pressing both "INPUT" bank buttons simultaneously you can activate a "GROUP" bank. Here the levels of multiple channel faders belonging to the group can be controlled via a single DCA fader. There is also a "CUSTOM" fader bank where you can assign any input, output or DCA group to any fader.

DCA "Roll-out" Simplifies Access to Individual Group Channels

When the "GROUP" fader bank is selected, all faders except the DCA masters 1 to 8 act as so-called "roll-out" faders. That means when you select a DCA group, the input channels belonging to that group are rolled out to their own fader set. This function allows quick access to levels and other parameters of the individual group channels while the eight DCA faders are used for the overall mix.

Channel Names and Color

A display above each channel fader shows the assigned channel name or ID, the connection name and the current fader position. Phantom power status and compressor/gate activity can also be displayed. A color bar indicating the channel color makes navigation child’s play and avoids mistakes when recalling scenes or switching fader banks.

Faders Provide a Clear View and Direct Access to All Inputs

The TF5 has 33 motorized faders, the TF3 has 25 and the TF1 has 17. All rear-panel inputs have their own fader so settings are visible at a glance and can be accessed directly at any time.

SENDS ON FADER section

The "SENDS ON FADER" buttons assign the faders to AUX or FX bus levels, allowing you to read and set them conveniently. When "SENDS ON FADER" is active the master fader functions as the bus master for the selected bus, so AUX levels can be checked and adjusted without switching fader banks.

Upper Console Area and Ergonomics

The top area of the console surface is designed to hold an iPad, setlists, notes or other small items. The user surface is composed of three cleverly angled sections to maximize overview and ensure perfect access to all controls.

"TF Editor" Enables Offline Editing and Real-Time Control

The "TF Editor" software for Windows and Mac provides a full interface for offline setup and editing of the console. Presets and scenes can be managed, and channel names entered comfortably via the virtual keyboard. "TF Editor" can also be used online simultaneously with "TF StageMix" and "Monitor Mix". The gestures used on the console display also work with a Windows 8 touch screen. A PC connected via Wi-Fi can serve as a convenient remote control for the mixer. Up to three devices running "TF Editor" or "TF StageMix" can be used simultaneously.

TF StageMix for Wireless Mixing

"TF StageMix" is an iPad app that turns the tablet into a wireless controller for the TF series. You can mix remotely from the audience area, in front of stage monitors or from any other listening position. The app also expands the console's user interface. StageMix operates as smoothly as the console, so you can fine-tune mixes from any location.

Independent Monitor Mixes with MonitorMix

The MonitorMix app for the TF series allows independent AUX monitor mixes from up to ten Apple devices (iPad, iPhone, iPod Touch) simultaneously. Each performer has full control over their assigned auxes without dealing with complex settings. Grouped controls simplify operation further — for example, all levels of a monitor mix can be mapped to a single fader. Up to three devices with "TF Editor" or StageMix and up to 10 devices with MonitorMix can be connected at once, enabling large bands to give performers individual control of their monitor mixes and easing the FOH engineer's workload.

Recallable D-PRE Microphone Preamps

The TF series features new versions of Yamaha's popular D-PRE microphone preamps. Because preamps have a significant influence on final sound, Yamaha's engineers spared no effort in developing and refining them so that not a nuance of the original signal is lost. The preamp is based on a discrete inverted Darlington-pair circuit design, providing clear, precise gain with consistently low noise and distortion at all levels. While some mic preamps intentionally color the sound, D-PRE preamps were painstakingly tuned for a very neutral sound with a wide frequency range so the performer's unique character and every detail of their playing are preserved.

Powerful Processors and Effects

In addition to an EQ and two dynamics processors per channel, the TF series includes eight powerful processors and effects for comprehensive signal processing. The FX modules 1 and 2 are technically equivalent to Yamaha's renowned SPX processors, long standard tools in live and studio use. The 17 programs range from hall reverbs and delays to modulation effects like flanger and chorus up to 3-band multiband compression. Press EDIT to open the effect parameter display and access parameters like Reverb Time or Delay Feedback. The remaining six processors are available on the mix buses AUX 9/10 to 19/20. You’ll find all effects there except the hall.* Multiband compression is ideal for level control in in-ear monitoring, while delay can be used for speaker time alignment. Since auxes can be routed to the stereo mix, effects can also be applied to input-channel processing if FX 1 and 2 are not sufficient. AUX paths 1–8 and the main outputs share the same 4-band parametric EQ as inputs, plus a 31-band Flex12 graphic EQ — both indispensable for speaker EQ and feedback suppression. * Hall is available for AUX 9/10 and AUX 11/12.

Versatile Live Recording and Playback for Any Application

Live recording capability is increasingly important in live systems. The TF series supports simple 2-track recording/playback to a USB storage device* as well as full multitrack recording to a DAW on a computer. The console ships with Steinberg's Cubase AI, enabling up to 16 tracks to be recorded to a computer connected via USB 2.0. For even more complex recording, optional DAW Nuendo Live (also Steinberg) allows simultaneous recording of up to 34 tracks. USB storage devices can play back MP3 and WAV files. iPhones and iPads can be connected digitally for playback. When playing from a DAW, each channel can be set to either the analog or DAW input, so prepared audio material can be mixed with live inputs for virtual soundchecks or rehearsals. Background music and sound effects can of course also be played back.