Yamaha TF3 - Ample input capacity and hands-on control in a compact console that can handle a wide range of applications. The TF3 dispose of 25 motor faders, 48 input mixing channels, 20 Aux + 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…
Yamaha TF3 - Ample input capacity and hands-on control in a compact console that can handle a wide range of applications. The TF3 dispose of 25 motor faders, 48 input mixing channels, 20 Aux + 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, 8 Effects, and 10 GEQ, 1 expansion slot for NY64-D audio interface card.
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
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.
Traditional Overview and Selected Channel Interfaces
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.
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.
GainFinder™ Supports Precision Gain Setup
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.
QuickPro Presets™ Provide Instant Access to Pro Sound Setups
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.
|Sampling frequency rate
|Less than 2.6 ms, INPUT to OMNI OUT, Fs=48 kHz
|Total harmonic distortion
|Less than 0.05% 20 Hz–20 kHz @+4 dBu into 600 , INPUT to OMNI OUT, Input Gain=Min. (Measured with a –18 dB/octave filter@80 kHz)
|Hum & noise level
|Equivalent input noise
|–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)
|–100 dB (Measured with a –30 dB/octave filter@22 kHz), adjacent INPUT/OMNI OUT channels, Input Gain=Min.
|100–240 V 50/60 Hz
|716 mm (28.2in)
|225 mm (8.9in)
|599 mm (23.6in)
|17.0 kg (37.5lb)
|Quick Guide, Power Cord, Nuendo Live
|+0.5, –1.5 dB 20 Hz–20 kHz, refer to +4 dBu output @1kHz, INPUT to OMNI OUT
|Operating temperature range: 0–40 °C, Storage temperature range: -20–60 °C
|110 dB typ., DA Converter, 107 dB typ., INPUT to OMNI OUT, Input Gain=Min.
|100 mm motorized, Resolution = 10-bit, +10 dB to –138 dB, –∞ dB all faders
|Expansion Card, Foot Switch (FC5)
|Input channel functions
|8 DCA Groups
|8 Effects + 10 GEQ
|34x34 USB Audio Interface, 2-track recording via USB Storage Device
|24 + 1 (Master)
|24 mic/line (XLR/TRS combo) + 2 stereo line (RCA pin)
|48 (40 mono + 2 stereo + 2 return)
|20 (8 mono + 6 stereo)