Additionally, there’s a dedicated USB 2.0 Type-A port on the back for direct connection to your computer, providing 32 mono and one stereo channels of bidirectional audio, to/from the host computer. Two stereo inputs are available via unbalanced RCA. (Except for the subwoofer channel, all mono channels are stereo-linkable.) Physical I/O on the rear panel consists of 16 mic/line inputs on Neutrik Combo jacks and 16 user-assignable, line-level “Omni” outputs on XLR. For internal buses, it has eight mono aux sends, six stereo aux sends, a stereo cue bus, a main stereo out, a separate subwoofer channel, and four mono matrices. Internally, the TF1 has 32 mono fader inputs available for mixing, along with two stereo inputs and two built-in stereo effects returns.
In fact, I would argue that a frictionless artist-monitoring system that offers transparent sound and efficient workflows is crucial for recording great performances, which is why any of the TF Series mixers would be a great choice for a tracking room.įor two months, I had the pleasure of using a Yamaha TF1, the most compact of the line, in my personal studio. But if you can work within that limitation, the TF1, TF3, or TF5 would be a fantastic project-studio centerpiece. Yamaha Pro Audio markets the TF Series for live sound (FOH mixing and stage monitoring) hence, 48 kHz is its only sample-rate. Less than a decade ago, the LS9-16, a similar console from Yamaha, would have cost three times as much - without the touchscreen, networking, and USB interface of the TF1.
The fact that you can buy the Yamaha TF1, a 32-channel digital mixer with 20 analog input channels, 16 analog outs, moving faders, touchscreen control, advanced networking, and an onboard 34-channel USB audio interface to boot - for a penny under $2000 - blows me away.
0 kommentar(er)
