Thank you for another great video. Could I ask you what you use for extracting the audio from the SDI/fiber coming from the cameras, and for adding the audio back into the SDI?
Right now I'm just using Blackmagic Design's mini converters: SDI to Audio 4K and Audio to SDI 4K. Though the main audio output of the TF3 goes directly into the analog XLR audio input of my ATEM switcher, so most of the time I don't have to use any kind of embedder.
I should also mention that the fiber converter I'm using inside the trailer (Blackmagic Design Studio Converter) also has dedicated audio outputs, so analog audio for the first eight cameras is also available to me in my patchbay, without having to separately deembed those channels.
Great video! I've never used one myself. Only worked with behringer and soundcraft alternatives (air, x32, impact). Does this thing have any controls for the master output (EQ/Comp/Limiter)? If I recall you had external processors at the audio rack when you were using the presonus, did you get rid of those?
The main stereo output does have DSP -- EQ and compressor (no limiter). I did have to have an FX processor to do delay with my Presonus -- I've since removed that since the TF3 has delay capability on the aux busses.
Hi Doug, i hope you will be doing great! Could you please give a little bit more details on Aux 19/20 effects. How to send effects from 19/20 to Aux 1 to 8. Thank you!
You can't directly send one aux bus into another. That's to prevent accidental feedback. If you have a Dante card, you can route a couple of the Dante outputs back to a Dante input and send that input into an Aux.
@@djp_video only Fx1 and 2 can be send to any monitor. What if I want more than 2 Fx on the board? For my understanding there's noway send Fx to monitors except 1 and 2 or patch physically. Thank you!
Hi Doug I hate beating you up but the camera work or lack of it on this one. 1 the focus was driving me crazy. 2 we need more close ups (any would have help ) bounce a light so we can the the back of the board I was surprise there was an iPad in the back.But all in all great tutorials
Very nice explanation! Thank you. I just ordered the TF3, full package. TF3/TIO1608D/DANTE and a 50m lan cable. I should be getting it next week. I will be using it with a RCF TT+ line array system for corporate/local events. Can't wait!
I guess that has a lot to do with how much experience someone has with digital mixers. Since I've used several digital mixers in the past, I was pretty comfortable with the TF3 in a matter of just a few minutes. It did take a couple hours playing with it, though, to fully understand how everything works. For someone who has only used analog mixers, it might take a couple hours to feel comfortable.
I haven't used any of those models, but looking over the website a few things stand out: It looks like the A&H models offer more powerful effects processors. It also offers 96 KHz sampling, which the Yamaha TF series does not. And knowing Allen & Heath's reputation, I'd venture that the sound quality may be a bit better. It also seems that A&H's commitment to Dante isn't quite as "all in" as Yamaha, but they do support it.
Hopefully you've gotten a chance to work with both by now. But I've worked with both and would easily take one of the boards from the SQ series over the TF in most cases.
If someone needs good Dante support, I’ll take a Yamaha every time. I also find the SQ series harder to use. Sound quality on the SQ might be a touch better, but it’s close. If I’m looking for a “real” mixer I’m going to a QL or CL
For each channel of the TF3 you'll select whether you want that to source from the local input, a USB channel, or the expansion slot (Dante). So for channel 1, you can select between Input 1, USB Channel 1, or Dante channel 1. So they don't come in on a separate layer; they take the place of one of the physical inputs on the back. You can use the Dante Controller software to select a different Dante source if you want. So Channel 1 doesn't have to come from input 1 on the stage box; you can remap it to a different input if you'd like. But if you'd like those mappings to be preserved between reboots, make sure to turn the Quick Config setting OFF on both the TF3 and the stage boxes. The TF3 has a total of 48 channels of input available. The last 8 are taken up by local stereo sources, leaving 40 available for other uses. With 24 inputs on the back, that leaves 16 additional channels you can map from Dante without replacing one of the local inputs. The tricky part about that, though, is that channels 33-40 don't have gates or compressors, and only 2 bands of equalization.
Thanks for the review. I was waiting for this one the be honest. About the assigning functionality or rather lack of it; I don't see/get why that is not possible with Dante, that goes basically against the protocol. For example; Lets say you have a couple of feeds of a venue you have to grab for your production, so you route the ethernet signal in your network and use the Dante Controller software, you should be able to just grab lets say channel 25 and 68 of a the venue's mixer and put that to the Yamaha's channel 1 and 2. So you are saying the Dante Controller software doesn't even let you use the essential Dante functionality in combination with this mixer, and even "worse" channel 68 is not even accessible because the Yamaha doesn't have 68 "inputs"?
I actually already found the answer; You do can re-route channels via Dante Controller, see this video: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-NYP2Bn7HACE.html
Using the Dante Controller app you can reassign channels. That's the one exception. Analog and USB are not assignable, and even the Dante assignments can't be made from the touch-screen interface; it has to be done through the Controller app.
"Presets" [Shudder]. A Midas Pro 1 would have been a great choice for the kind of work you undertake, although I appreciate the lack of Dante integration would be a deciding factor. Sticking with Yamaha, a QL1 would have been a superb choice; albeit a lot more money! :)
I'd have loved to go with a QL1. But went with the TF series for two main reasons: cost, and the fact that many times it's going to be run by guys who aren't audio professionals, so an easy interface was a strong consideration.
