Full creative freedom can only be achieved when the sonic foundation is accurate, uncolored, and faithful to the source. The same pure, natural sound that is a highly regarded feature of the CL series is achieved in the compact QL series consoles as well. Every detail, from mechanical construction through port location, power supply, grounding, and individual components has been painstakingly analyzed and brought together in a system that affords extraordinary audio quality. Noise that can affect digital mixer performance in a number of ways has also been thoroughly scrutinized and effectively eliminated. Because it can affect AD/ DA converter performance, system clock jitter has been subject to detailed analysis and optimized by revising the internal FPGA layout and rerouting the clock signal. All of these details combine to realize performance that not only passes the strictest scientific tests, but also satisfies the critical ears of some of the most demanding sound engineers in the business.

All of the processing capability that was packed into the CL series consoles is provided in the QL consoles as well. Most of those processors are based on Virtual Circuit Modeling (VCM) technology developed by “Dr. K” (Toshifumi Kunimoto) and his team at “K’s lab,” Yamaha’s stateof-the-art digital technology research facility. VCM technology precisely models the circuitry and performance of analog audio devices, right down to the characteristics of individual components such as resistors and capacitors. VCM simulations are so realistic and musical that even the legendary Rupert Neve, a master who built his reputation on analog sound, has given it his approval and collaborated in developing VCM versions of his Portico 5033 and 5043 EQ and compressor, both provided as on-board processors in the QL consoles.

Thanks to in-depth collaboration with Dan Dugan Sound Design, renowned Dan Dugan automatic microphone mixing with its advanced algorithms is built into the QL series consoles. Setup is easy: just insert the processor into up to 16 channels for automatically optimized microphone gain distribution. Gain control is smooth and natural, as though experienced human operators were doing the mix. The system also effectively reduces feedback and comb filter issues. For speech applications, especially non-scripted situations, this allows the operator to concentrate on details other than fader operation for consistently high-quality mixes.

Touch and Turn operation, introduced in the CL series, has been enthusiastically adopted by sound engineers everywhere. The QL series offers the same operational advantage: touch the parameter you want to control on the screen, then rotate the Touch and Turn knob that is below and to the right of the screen to adjust as required. The color displayed below the knob changes to match that of the selected parameter, for quick confirmation and error-free control. It’s simple, responsive, and very intuitive.

The Yamaha Selected Channel interface provides a comprehensive overview of available channel parameters with direct selection capability via its large touch-panel display. The display is the same type that was provided on the CL series consoles, offering high visibility and smooth response for stress free operation. Hands-on control via dedicated physical controllers as well as an innovative Touch and Turn knob provides speedy access to essential QL console parameters for a fast, efficient workflow.

The operator’s sonic intent is conveyed to the console primarily through the faders. Inheriting the sports car bucket seat styling of the CL series faders, the QL faders provide comfortable, sure operation regardless of where you finger rests on the knob. Even the fader knob materials have been selected for optimum feel. The sides of the knobs are specially sculpted to allow the fader scale on the panel to be easily seen from just about any angle.

The main Selected Channel parameters are assigned to the knobs located to the right of the display for immediate access at any time. In addition to User Defined Keys to which parameters can be freely assigned, another traditional Yamaha digital mixing console feature, the QL consoles also have on-screen User Defined Knobs that provide the same assignable freedom for variable parameters. In combination, the User Defined Knobs and User Defined Keys can significantly enhance operation speed and efficiency.

All analog inputs are assigned to one Fader Bank, while other input and output channels are accessed by switching banks. Four Custom Fader Banks are also provided, and these allow the user to set up any combination of channels required for maximum efficiency in any application. Custom Fader setups can also be stored with scenes and instantly recalled when needed.

Miniature display panels above each channel fader show the channel name as well as fader setting. There’s also a color bar that glows in eight colors, matching the channel colors shown in the main touch-panel display for easy visual identification. The eight colors plus “black” provide a total of nine color groupings. These high-visibility displays offer excellent legibility in bright outdoor lighting as well in dim indoor settings.

Each QL series console provides extensive built-in input and output capacity that can handle a variety of applications without the need for stage boxes or other external equipment (32 inputs and 16 outputs on the QL5, and 16 ins and 8 outs on the QL1). For many jobs all you need is one console, and that means vastly superior portability as well as speedy setup.

Precision synchronization technology achieves low latency and low jitter as well as high sample accuracy in a network that is fast and simple to set up. Individual IDs assigned to each device on a Dante network allow automatic device detection as well as easy patching. Speedy setup leaves more time for the all-important job of setting up the mix.

Cables and switches can malfunction, but with Dante’s support for redundant connections a problem on the network won’t stop the show. Redundant primary and secondary connections can be set up in a star network configuration so that problems in any part of the network won’t interrupt the signal flow or bring the entire network down.

The ability to directly connect input ports to output ports without going through mixing channels provides unprecedented freedom for routing signals between the analog, Dante, and MY slot inputs and outputs. For example, a QL console could be used as an I/O device for another QL or CL series console while simultaneously functioning as a monitor console. Not only is just one QL console required for both monitor and I/O use, but analog gains can be remotely controlled from the front-of-house QL or CL console. It’s also possible to mix analog signals received at the console while directly transmitting them to a multitrack recording system via Dante, for example. The possibilities are vast.

When sharing inputs between multiple consoles using Dante networking and Port to Port capability, gain adjustments made from one console could potentially disrupt the mix balance at another. The Gain Compensation function prevents such problems from occurring. Gain compensation is automatically applied at the digital stage so that the total gain sent out via the network remains constant.

Up to eight VCM processors, including the Portico processors developed in cooperation with Rupert Neve Designs that are standards in leading recording studios throughout the world, can be mounted in the virtual rack and used to deliver the kind of performance that only high-end analog outboard processors have previously been capable of. More importantly, that studio quality and musical tonality are available for live sound applications.- Portico 5033/5043These devices immaculately model the full sonic depth and breadth of the original analog equalizer and compressor/limiter modules by Rupert Neve. They are not only ideal for adding first-class studio-quality processor sound to your mix, but are also remarkably easy to set up for optimum effect. Merely inserting these outstanding models in the signal path can enhance the sound.- U76A studio standard that is ideal for a wide range of applications. It even features a RATIO “ALL” button that simulates the effect of engaging all of the ratio buttons on the original.- Opt-2AThis is a model of one of the most widely used optical studio compressors from the 1960’s. The distinctive and highly regarded compression and release characteristics of the original are recreated with remarkable precision.- EQ-1AThe classic studio equalizer that is the basis for this model is still in demand today, highly prized for the musical response of its vacuum tube and transformer EQ circuitry, as well as its distinctive boost/cut characteristics.- Dynamic EQThis original EQ module detects level variations in specified frequency bands in real time, dynamically adjusting EQ gain to provide pinpoint compression, limiting, and de-essing. A refined interface contributes to fast, easy operation.

Up to eight of the 46 available ambience effects and 8 available insert effects can be mounted in the QL virtual rack. That selection includes a number of high-end Yamaha REV-X reverb processors for sophisticated sonic control. Any of the mounted effects can be individually switched to graphic EQ operation as required.- Comp 276This model is a composite of several analog compressors that were popular in recording studios in the 70’s. Anyone who is familiar with the originals will recognize the characteristic punch and fatness this device delivers.- Open DeckHere’s a unique effect that models both the analog circuitry of well-known professional tape decks plus the characteristics of the tape used with them. You can simply choose a deck that offers the sound you need, or combine different recording and playback decks for a range of useful variations.- Comp 260The compressor/limiter modeled in this device was all the rage in the late 70’s, featuring solid-state RMS level detection circuitry and VCAs for level control. The sonic signature of this model is unmistakable.- EQ 601For a sweet analog EQ sound, this model recreates a popular circuit topology from the 70’s.

The GEQ rack is ideal for inserting graphic EQ into the output and other busses. Up to eight 31-band graphic equalizers can be mounted, and any of those can be switched for use as dual 15-band “Flex15GEQ” equalizers that can control any 15 bands selected from the 31 bands available. With eight rack slots, that allows for a maximum of 16 simultaneous EQ processors. Dan Dugan Automixer units can be inserted in the input channels via the GEQ rack, providing up to 16 channels of automix for speech applications.

A standard USB flash drive plugged into the front-panel USB port serves as media for direct 2-track recording in mp3 format. There’s no need to carry external recording equipment around, and the recording can be handed to performers as soon as the show is finished, for example. Sound files in mp3, AAC, or WMA format saved on the flash drive from a computer or other source can be played back too, for convenient BGM or sound effects without the need for extra playback equipment.

The QL series consoles even make live multitrack recording easy. With Dante Virtual Soundcard software it becomes possible to transfer audio directly to a Windows or Mac computer connected to the Dante network. With an appropriate DAW such as Steinberg Nuendo Live (sold separately) running on the computer, up to 64 tracks can be recorded simultaneously. In addition to being the best way to create professional quality recordings of live performances, this capability is ideal for creating the tracks needed for virtual sound checks.

Multiple QL consoles can be cascade connected via I/O cards such as the MY16-AE to create systems that offer the high channel capacities required by larger applications. QL consoles can also be cascaded to the other Yamaha digital consoles such as CL series for broad system flexibility

Lake processing has become a standard for speaker processing in live sound applications, and it can easily be added to QL consoles via the MY card slots. The MY8-LAKE expansion card, developed through technical cooperation between Yamaha and Lab.gruppen, offers Mesa EQ, Ideal Graphic EQ, Linear Phase EQ, and other processing features that are capable of achieving ideal tuning in a wide variety of environments regardless of size, acoustic characteristics, or the types of speakers used. Mesa EQ with its symmetrical curve can be inserted into input channels and used for creative sound shaping as well as speaker processing. The possibilities are endless. The Lake Controller computer application can be used for central management and control of all Lake devices in the system, and it works well with Smaart acoustic measurement tools for effective overall speaker tuning.

With the “QL StageMix” app for iPad it is possible to mix remotely from audience seating or the performer’s positions in front of floor monitors, for example. The QL5 even includes stays that will support an iPad on the left side of its panel, sleekly integrating of the iPad into the QL interface. There’s also the “QL Editor” application for Windows and Mac computers, allowing console parameters to be set up via the computer, on or off line. The QL Editor is a great way to manage scene and patch list data, for example, and keyboard entry capability can be a timesaving advantage for typing channel names, etc. QL StageMix and QL Editor are great time savers, and they can be used simultaneously.

Since QL and CL series mix data are compatible, data created on either type of console can be directly read and used by the other. The time and effort spent setting up mix data for one job can be carried over to other jobs. Moreover, the Yamaha Console File Converter application provides compatibility with PM5D, M7CL, and LS9 consoles as well. All the data you have carefully crafted can be put to good use in future situations.