testbericht

Diagramm 9: Klirrspektrum Silk blau Neve Shelford Channel, Linksan- Diagramm 10: Klirrspektrum Silk rot Yamaha, Linksanschlag (blau), 12
schlag (blau), 12 Uhr-Stellung (grün) und Rechtsanschlag (rot) Uhr-Stellung (grün) und Rechtsanschlag (rot)

Diagramm 11: Klirrspektrum Silk rot Shelford Channel, Linksanschlag Diagramm 12: Amplituden- (solide) und Phasenfrequenzgang (gestrichelt)
(blau), 12 Uhr-Stellung (grün) und Rechtsanschlag (rot) Opendeck, Swiss 85 (blau), Swiss 78 (rot), Swiss 70 (grün) und American
70 (lila)

die spektrale Zusammensetzung je-
doch einige Unterschiede aufweist.
Ein Ähnliches Verhalten zeigt auch Silk
Rot in Diagramm 10 beim Vergleich zu
Rupert Neve in Diagramm 11. Insge-
samt scheint Yamaha sogar eine deut-
lich ausgeprägtere Unterscheidung zwi-
schen rot und blau zu erreichen, als
Rupert Neve selbst. Dies kann daher
kommen, dass die Verhältnisse in der
Simulation natürlich deutlich kontrol-
lierter sind, als an einem realen Bau-
teil, noch dazu einem so komplexen
wie einem Übertrager. Es wird auf jeden
Fall deutlich, dass Yamaha sich viel Mü-
he bei der Nachbildung gegeben hat,
denn die dynamischen Veränderungen
über die Frequenz und den Pegel sind
differenziert ausgearbeitet und weisen
auf einen nicht unerheblichen Entwick-
lungs- und Rechenaufwand hin. Ob die
Emulation ganz genau trifft, kann lei-
der nicht abschließend geklärt werden,
denn wir wissen auch nicht, welche Silk-
Variante direktes Vorbild für die Emula-
tion war.
Praxis und Klang Silk
Um die Klangqualität fair beurteilen zu
können, haben wir nicht nur Einzelsi-
gnale über die Prozessoren geschickt,
sondern ganze drei Mehrspurprojekte
mit Silk bearbeitet. Anschließend wur-
den die Projekte nur mit Pegelanpas-
sungen und Panoramapositionierung ge-
mischt. Als Klangquellen lagen sowohl
Aufnahmen akustischer Instrumente, als
auch rein digitale Signale vor. Damit erg-
ab sich ein bunter Querschnitt an reprä-
sentativen Signalen, die sowohl im neu-
tralen Zustand (natürlich über die neu-
tralen Wandler geschickt) und jeweils
mit Silk Rot und Silk Blau bearbeitet vor-
lagen. Zunächst haben wir versucht,
die Signale ‚sortenrein‘ zu mischen, al-
so nur die neutralen, nur die roten und
nur die blauen Quellen unter sich. Dabei
zeigte sich sofort der charakteristische
Unterschied. Während die ursprüng-
lichen Quellen im Vergleich eher dünn
und unauffällig blieben, schoben sich
die blauen Signale dicht zusammen,
mit einer Betonung der unteren Mitten.
Die roten Signale hingegen zeigten eine
deutliche Zeichnung in den unteren Hö-
hen, eine Präsenz, die aber in der Sum-
me bei allen Kanälen zu viel wurde. Ähn-
lich, wenn auch nicht so drastisch, wie
ein Exciter-Effekt, der sich bei Übertrei-
bung abnutzt. Das war auch nicht an-
ders zu erwarten, denn natürlich ist es
nicht sinnvoll, alle Quellen mit dem glei-
chen Konzept zu bearbeiten. Optimal
war die Situation, wenn man stattdes-
sen eine sinnvolle Mischung aus allen
drei Versionen erzeugte. Sofort sortieren
sich die einzelnen Instrumente in den
akustischen Hintergrund, die Mitte oder

6|7 S tu d io Magazin 06/1 8

 The standards stay,
but innovation never ends.
The pursuit of perfection is ongoing and will probably never end, but along
the way Yamaha has introduced a number of innovations that have become
industry standards offering performance and familiarity that discerning users
continue to demand. By definition, “standards” are best kept as they are. With
evolutionary refinements, of course.

Yamaha CL series digital mixing consoles represent a new level of refinement.

They offer an evolved experience in accessible mixing, plus sonic purity with
sound shaping capabilities that will give the most imaginative engineer
unprecedented creative freedom. The CL series embodies the leading
standards in live sound in their most advanced, most expressive form.

DIGITAL MIXING CONSOLE CL5 / CL3 / CL1

I/O RACK Rio3224-D / Rio1608-D
INPUT RACK Ri8-D
OUTPUT RACK Ro8-D

01
A creative console for
expressive engineering
Premium Rack
Every engineer, artist, and audience
agrees that sound quality is the bottom
line. That’s a given. Through thorough
analysis, review, and refinement of every
detail of the circuitry and technology
used, Yamaha CL series consoles deliver
naturally superior sound plus a
comprehensive range of “coloring”
options that give the sonic craftsmen who
will use them extraordinary creative
freedom. The signal processors provided
are plentiful and of the highest quality,
including extraordinary Portico 5033/5043
EQ and compressor devices that bring
Yamaha VCM technology together with
the legendary talents of Rupert Neve. The
platform is pure and natural, so the
engineer can create and deliver the ideal
sound.
Efficient, enjoyable operation
Centralogic
A truly useful sound reinforcement
console is one that can keep pace with the
rapidly and dramatically changing
demands of live sound applications.
Efficient, intuitive operation is essential.
Yamaha’s acclaimed Centralogic concept
is the core of a refined user interface that
offers a new, unprecedented level of
operating efficiency in the CL series, from
visual feedback right down to the form
and feel of the faders and controls. The CL
consoles are also ready for seamlessly
integrated remote control and offline
editing via an Apple iPad® or other
computer. Control is familiar and intuitive,
while at the same time offering extensive
freedom.
Scalable, versatile
network capabilities
Rio3224-D
Network capabilities are rapidly becoming
fundamental and indispensable in today’s
fast-paced world of digital live sound. CL
series consoles feature separate console
and I/O rack components that
communicate via the Dante™ network
audio protocol, allowing fast, efficient
design and deployment of capable
systems from the most basic to the
dazzlingly complex. The ability to add
Lake® processing via expansion slots also
adds to the system’s versatility and
adaptability to the widest range of mixing
needs.
02
 testbericht

Figure 9: THD spectrum Silk blue Neve Shelford Channel, fully counter- Figure 10: THD spectrum Silk red Yamaha, fully counterclockwise
clockwise (blue), 12 o’clock (green), and fully clockwise (red) (blue), 12 o’clock (green), and fully clockwise (red)

Figure 11: THD spectrum Silk red Neve Shelford Channel, fully counter- Figure 12: Amplitude (solid) and phase (dashed) frequency response
clockwise (blue), 12 o’clock (green), and fully clockwise (red) Opendeck, Swiss 85 (blue), Swiss 78 (red), Swiss 70 (green) and Ameri-
can 70 (purple)

the silk settings. The response of the
THD also shifts as expected. Figure 6
illustrates very well how the added THD
dominates the clipping characteristics
of the converter by several magnitudes.
As such the THD is by no means static,
but rather changes as a function of
frequency quite significantly. The
behaviour of both colour variations at -3
dBFS level is shown in figure 7. In these
cases the texture control was set to 8
out of 10. This is not an exaggerated
setting because the emulation, just
like its original prototype, only yields
a significantly audible effect beyond
its half-way point (12 o’clock setting).
It’s a favourable coincidence that we
measured the Rupert Neve Shelford
Channel in similar conditions back
a while. So the THD spectra of the
Silk implementations in the Shelford
Channel and in Yamaha’s PM10 can for
the most part be directly compared.
All measurements were carried out
with three texture settings at the
counterclockwise extreme (blue), 12
o’clock (green), and clockwise extreme
(red). Let’s start with the Yamaha Silk
blue in figure 8 and the corresponding
comparison with the Shelford Channel
in figure 9. The absolute characteristics
are certainly comparable, but the
spectral compositions show a few
differences. Silk red shows a similar
behaviour in figure 10 compared with
Rupert Neve in figure 11. As a general
rule, Yamaha seems to achieve an even
stronger discrimination between red
and blue than Rupert Neve himself. This
may be due to the circumstance that the
effects of the simulation can naturally
be better controlled than the behaviour
of analogue components - particularly
a complex one like a transformer.
It definitely becomes evident that
Yamaha has gone to great lengths with
the emulation, because the dynamic
behaviour as a function of frequency
and level is quite detailed hinting
towards a significant development and
processing effort. Whether or not the
emulation fully hits the mark cannot be
concluded with complete confidence,
because we don’t know which silk
circuitry served as the prototype for the
modelling.
Silk hands-on
and sound
For a fair contest of the sound quality
we didn’t just process isolated signals,
but we decided to treat three multi-
track projects with Silk. These projects
were then mixed just by means of level
balance and panning. Sound sources
were both recordings of acoustic
instruments as well as purely digital
signals. This resulted in a diverse mix

6|7 S tu d io Magazin 06/1 8

 DIGITAL MIXING CONSOLE

72 mono / 8 stereo 24 mixes / 8 matrices *1

With a three-section fader layout for efficient hands-on

control, the CL5 is the ideal choice for a diverse spectrum of
live sound systems.
• Fader configuration: 16-fader left section, 8-fader Centralogic section,
8-fader right section, 2-fader master section .
• Stainless steel stay for iPad support.
• Built-in meter bridge.

DIGITAL MIXING CONSOLE

48 mono / 8 stereo 24 mixes / 8 matrices *1

Dual 8-fader sections in a space-saving

console that can be used alone or cascaded to
another CL console for input expansion.
• Fader configuration: 8-fader left section, 8-fader
Centralogic section, 2-fader master section .
• Meter bridge optional.

Consistent Features & 24 mixes / 8 matrices*1 8 Premium Racks 300 Scene Memories Dante CL Editor
Performance
16 DCAs / 8 Effect Racks 16 User Defined USB Memory CL StageMix
All specifications other than channel capacity are 8 Mute Groups Keys Recorder
consistent throughout the lineup, so you get the
same capabilities and performance whichever Input Delay 16 GEQ Racks 4 User Defined Dante Virtual Soundcard / Console File
Knobs Nuendo Live Converter
model you choose for your application. This also
means consistent performance and operation in Output Port Delay Channel PEQ / Fader Bank GPI 3 MY Slots
Dynamics
systems that implement multiple consoles.
03 *1 Input to Matrix supported.
 DIGITAL MIXING CONSOLE

64 mono / 8 stereo 24 mixes / 8 matrices *1

An ideal blend of compact size and
channel capacity for a variety of live and
installed applications.
• Fader configuration: 16-fader left section,
8-fader Centralogic section, 2-fader
master section .
• Stainless steel stay for iPad support.
• Meter bridge optional.

INPUT RACK

New 8 in
OUTPUT RACK

New 8 out
I/O RACK

16 in 8 out

32 in 16 out · 4 AES / EBU

I/O Rack Options for a Wide Range of Applications.

Four rack-mountable I/O units with different input and output
configurations are available for use with the CL series consoles. The 5U size
Rio3224-D provides 32 ins, 16 outs, and four AES/EBU outputs, while the 3U
size Rio1608-D has 16 ins and 8 outs. The compact 1U size input-only Ri8-D
and output-only Ro8-D are excellent choices where you only need inputs
or outputs in a specific location. All four units can be used in any
combination required for the application, communicating with the console
via Dante network protocol for low-jitter, low-latency digital audio.

New Enhanced I/O Flexibility and Freedom Options

The new Ri8-D and Ro8-D input and output racks use the same Dante audio network protocol and deliver the same
outstanding sound quality as the CL series consoles and Rio series I/O racks, in space-saving 1U size rack mount units ■ Meter Bridge MBCL
that allow greater freedom for installation and I/O distribution. ■ Power Supply PW800W
■ Power Supply Link Cable PSL360
INPUT RACK Ri8-D OUTPUT RACK Ro8-D MBCL
■ Gooseneck Lamp LA1L

04
 Refined Panel Layout
A refined panel layout offers intuitive, efficient control over every
aspect of the CL console’s first-class sound, with features and
functionality that only a cutting-edge digital console can provide.
CL console operability goes beyond ease of use. It is almost as
though the console cooperates with the operator to deliver the
desired sound with minimum effort.

■ CL5 / CL3 / CL1

❶ Selected Channel
❶ ❼
This traditional Yamaha
❽ intuitive-operation feature
provides physical controls that
directly link to on-screen
parameters for fast, precise
❺ ❺❻
operation.
❷ Scene Memory
One of the central advantages of
digital consoles is total recall. Up
to 300 CL console scenes can be
rapidly stored and recalled, with
preview capability.
❸ Gain / Pan / Assign Knobs
Direct channel gain and pan
control is always available without
the need to select a particular
channel. Send, threshold, and
other parameters can be assigned
to these knobs as well.
❹ Multi Function Knobs
These Centralogic section knobs
link visually to the display for a
smooth, analog-style control feel
and efficiency.

05
 ■ Rio3224-D / Rio1608-D

■ Ri8-D / Ro8-D

❺ Fader Bank Selectors
The ability to switch fader banks in 8 or 16
channel groups makes high capacity mixing
easily accessible in a compact console
chassis. Bank customization is also possible.
❻ User Defined Keys
Tap tempo, direct scene recall, bookmark
recall, and a variety of other functions can be
assigned to these buttons for instant access.
❼ User Defined Knobs
These four knobs function independently
from the console’s scenes and fader banks,
allowing direct control of a variety of
assignable parameters such as bus send
from a specified channel, for example.
❽ USB
Console settings can be saved to or recalled
from a USB memory. USB memories can also
be used for easy 2-track recording or BGM
playback.

06
 Sound Quality

Creating the Ideal

Natural Sound Platform
The full impact of the most advanced digital audio technology
available has been applied throughout the CL series to deliver
natural sound that provides a perfect foundation for the artist’s
and engineer’s imagination. This type of sonic quality cannot be
realized through specifications alone. Repeated listening
evaluations and refinements by some of the most reliable ears and
respected minds in the business are an indispensable part of the
process. The CL series digital mixing consoles are proof that the
time and effort involved have been well spent.

The Sound Is In the Details
The challenge begins right from the console’s inputs. In
order to achieve the required level of sound quality,
individual components, power supply, grounding, circuit
layout, mechanical construction, and countless other details
of the initial input stages must be selected and designed
with the utmost care. Listening evaluation becomes an
important part of the development process right from this
first stage as well. Changing even a single electronic
component can alter the sound in unexpected ways, and the
tiniest variations must be noted and evaluated as
development proceeds. Extreme measures have been taken
to maximize AD and DA conversion performance as well,
right down to making detailed spectral analyses of the
AD/DA master clock and adjusting the FPGA clock signal
routing so that the most natural, musical sound is achieved.
Another critical part of any audio system is the power supply.
Of course the capacity of the supply is important, but so are
the types of capacitors used, and the grounding must be
engineered to ensure the lowest possible impedance. The
resultant sound is an eminently natural representation of the
input signal, providing an ideal foundation for processing
and effects that will lead to the final, polished sound.

07
 Functionality

Dante for Fast,

Flexible Networking
The complexity and variety of today’s live sound systems makes fast,
adaptable configuration and setup capability vital. Of course the highest level
of sonic performance must be maintained at the same time. CL series consoles
use the Dante network protocol developed by Audinate to allow flexible
connection to multiple I/O rack units configured and located according to the
needs of the application, while at the same time providing redundancy for
superior reliability.

Up to Eight I/O Rack Units
Dante directly supports star network
configurations, so up to eight I/O rack units
can be connected to any single CL series
console and conveniently located wherever
they are needed most. A few simple DIP
switch settings are all that is required to
change to daisy-chain networking as
required.
11
Simple Setup
The ability to set up even complex systems
quickly and easily is another benefit of Dante
networking. In most cases devices on the
network are recognized and set up
automatically. And since patching operations
that usually require a separate computer can
be carried out directly from the CL console,
changes to the initial setup are painless as well.
Redundancy for Reliability
Dante also makes it easy to maximize system
reliability. Star networks allow the use of
redundant primary and secondary lines for
each device, for the utmost reliability in
critical applications. With this type of setup a
malfunction in a cable or other network
component won’t bring the whole system
down. The show will go on.
NXAMP Discovery and Patching
Here’s a case where Dante offers not only
extended system flexibility, but enhanced
operability as well. NEXO NXAMP discovery and
patching operations that normally require a
computer running the Dante Controller software
application can now be carried out directly from
the CL console touch screen display when the
NXDT104 Dante network card is installed.
*CL firmware version 1.5 or higher required.
 Sound Quality

Prodigious Quality &

Creative Potential
In creating the best possible sound for a profusion of venues and artist
requirements, sound engineers draw on their experience and imagination
to make a multitude of practical as well as creative decisions. The
engineer’s primary hands-on tool, the mixing console, must be able to
accommodate them all. Of course the bottom line is sound quality, and
this is just one of the areas in which the CL series consoles excel. They also
feature some of the most advanced analog circuitry modeling technology
available to add unprecedented character and shape to the sound as
needed, while maintaining the utmost sonic quality.

A Digital Approach to
Acclaimed Analog Quality
Rupert Neve is a legend. His contributions to the fields of audio
recording and production began at the dawn of the era and
continue to this day in the form of microphone preamplifiers,
equalizers, compressors, and mixing consoles that are the gold
standards of professional audio.
Clearly Mr. Neve is very serious about his sound, so it’s an honor
that he and his company, Rupert Neve Designs, have officially
recognized Yamaha’s original VCM (Virtual Circuitry Modeling)
technology as being the first of its kind that is capable of
accurately modeling the rich, expressive analog sound they have
championed for so long. With VCM technology, digital audio is at
last capable of matching analog designs for sonic quality.
VCM, developed by Toshi Kunimoto (“Dr. K”) and his team at Yamaha’s innovative “K’s Lab”
division, is a circuit modeling concept that effectively simulates the most detailed
characteristics of individual circuit components, right down to
capacitors and resistors, resulting in astonishingly realistic
circuit simulations that easily outclass conventional digital
simulations. But accuracy isn’t the only consideration,
musicality is essential as well, and VCM modeling delivers both.
The CL series consoles come equipped with VCM models of the
renowned Neve Portico 5033 equalizer and Portico 5043
compressor/limiter, both developed through close cooperation
with Rupert Neve Designs. A valuable range of other VCM
equalizers, compressors, and studio-quality effects is also
included. You will hear the difference.
Toshifumi Kunimoto
Engineering Manager at
Corporate Research & Development Center

08
 Operability

Centralogic at the Heart of

an Evolved Interface
Yamaha’s Centralogic user interface has already proven its value as the most user-friendly
digital operating environment available, even for engineers who were previously only
comfortable with analog consoles. Founded solidly on Centralogic roots, the CL series takes
intuitive, efficient operation to an even higher level, offering an operating experience that
engineers will not only feel immediately familiar with, but will be able to grow with into the
future.

Overview
–Analog Style Intimacy
Clear visual continuity from the Centralogic section’s
physical faders to virtual on-screen controls via the
console’s elegantly curved panel matches the
unambiguous directness of analog console channel
modules. Any of the console’s input and output
channels can be instantly assigned to the Centralogic
section in 8-channel groups.

Selected Channel
– Another Industry Standard from Yamaha
The Selected Channel display provides a comprehensive
view of the many controls and functions available for
the currently selected channel. The corresponding
physical controllers to the left of the display are labeled
and laid out in the same way as the on-screen controls,
for confident access and operation. The CL series
includes a number of refinements to this now-standard
interface for unprecedented operating ease.

09
 testbericht
Natürlich kommt der Sound nicht aus
dem Pult allein, sondern entsteht durch
den Menschen, der es bedient und
dessen Team (vorausgesetzt die Band
spielt gut...). Der zuständige FOH-Engi-
neer der Foo Fighters ist Bryan Worthen,
den ich leider kurzfristig nicht mehr er-
reicht habe, denn sonst hätten wir hier
noch eine Stellungnahme von ihm hin-
zufügen können. Es ist jedoch auch
ganz klar, dass ein Toningenieur sein
Talent nur so gut umsetzen kann, wie
es die Technik erlaubt und hier können
wir nun wieder die Schleife zum Misch-
pult direkt zurückführen. Nur wenn alles
zusammenspielt, kann etwas Außerge-
wöhnliches entstehen, so wie an jenem
Abend in Hamburg.
Das Studio Magazin ist nicht gerade
prädestiniert für die Präsentation eines
klassischen Live-Mischpultes. Zunächst
gehört es nicht in unser routinemäßiges
Portfolio, zum anderen ist unsere Exper-
tise in diesem Bereich inzwischen auch
begrenzt. Live-Sound ist heute mehr
denn je ein eigenständiges Gewerk,
welches von hochspezialisierten Kolle-
ginnen und Kollegen abgedeckt wird.
Dennoch haben wir uns entschlossen,
uns mit dem Rivage PM10 etwas näher
2|3 S tu d io Magazin 06/1 8
auseinanderzusetzen, denn das Pult ist
viel mehr als ein reiner ‚Live-Tisch‘. Un-
ter der Haube steckt sehr viel Technolo-
gie, die aus dem Studiosektor abgelei-
tet wurde. Ganz konkret in Form von ver-
schiedenen Plug-Ins, die den Sound von
klassischen Studio-Peripheriegeräten
und Bandmaschinen nachempfinden.
Darüber hinaus geht Yamaha mit der
Eingangsstufe einen sehr spannenden
Schritt und emuliert die von Rupert Ne-
ve in seiner Portico-Serie eingeführten
Silk-Übertragereingänge. Da wir bereits
verschiedene Rupert-Neve-Geräte mit
der Originaltechnik im Test hatten, konn-
ten wir hier direkte Vergleiche ziehen.
Es wird sich also zeigen, wie gut Yamaha
sich dem Neve-Sound nähern kann und
ob das Rivage PM10 auch für den Studi-
obetrieb geeignet ist. Oder, und das ist
sicher der noch spannendere Aspekt, in
wie weit man den Sound aus dem Stu-
dio auch adäquat auf die Bühne brin-
gen kann. Ich denke, dass dies auch die
Leser des Studio Magazins interessie-
ren wird.
Überblick
Ein komplettes Rivage PM10-System be-
steht aus drei großen Komponenten. Der
Rechenkern DSP-R10 stellt das Funkti-
onszentrum des Gerätes dar. Hier lau-
fen alle Audioleitungen zusammen
und werden bearbeitet. Der Kern bie-
tet eine Kapazität von 144 Eingangska-
nälen, 72 Mix-Bussen, 36 Matrix-Ein-
gängen und einem Stereosummenaus-
gang. Neben dem fest zugewiesenen
Processing in jedem Kanal können wei-
tere Plug-In-Module als Inserts adres-
siert werden. In diesem Fall müssen sie
jeweils bei den notwendigen DSP-Res-
sourcen freigeschaltet werden. Diese
DSP-Slots sind nicht nur wegen der end-
lichen Rechenkapazität notwendig, son-
dern auch, weil die Signale einen Pfad
zum und vom DSP belegen müssen. Ein
Prinzip, welches zum Beispiel auch von
der UAD-Karte und anderen DSP-Syste-
men bekannt ist. Die als Inserts verfüg-
baren Plug-Ins basieren zum größten
Teil auf Yamahas Virtual Circuitry Mode-
ling-Technik (VCM), bei der eine Schal-
tung mit den Eigenheiten der ursprüng-
lichen Bauteile nachempfunden wird.
Das PM10 bietet hier zum Beispiel Mo-
delle von verschiedenen Neve Vintage-
Kompressoren und -Equalizern, die sich
mehr oder weniger lose an ihren Vorbil-
dern aus den 1960er, 70er und 80er Jah-
ren orientieren. Darüber hinaus gibt es
Portico-Emulationen und Nachbildungen
von klassischen Kompressoren und Mul-
tieffekten (zum Beispiel Eventide H3000
oder TC Electronic VSS4). Aber auch ei-
ne Bandmaschinen-Emulation mit vier
Modellen. Hierauf werden wir weiter un-
ten etwas genauer zu sprechen kom-
men. VCM kommt auch bei der Nachbil-
dung von Rupert Neves Silk-Schaltung
in den Eingängen zum Einsatz. Unab-
hängig vom Rechenkern sind die Ein-
und Ausgangsmodule in den Stage-Bo-
xen. Der Anwender kann hier zwischen
verschiedenen Typen wählen, die einen
entscheidenden Unterschied aufweisen.
Die ‚nativen‘ Rivage-Exemplare hören
auf den Namen RPio und sind mit eige-
nen DSPs in den Eingangskarten (RY16-
ML-SILK) bestückt. Diese Module kom-
men auch bei den acht lokalen Analog-
eingängen, den sogenannten Omni-In-
resources have to be made available
for the inserts. These DSP slots are not
only necessary due to the finite DSP
processing resources, but also because
dedicated paths to and from the DSP
need to be instantiated internally
first. A method well known from UAD
processing cards or other DSP systems.
The plug-ins available as inserts are
mostly based on Yamaha’s Virtual
Circuitry Modeling (VCM) technology
emulating analogue circuits down to
all the particularities of the individual
components. For example, the PM10
offers models of various vintage Neve
compressors and equalisers loosely
based on their original counterparts
from the 1960s, 70ies, and 80ies. On
top of that there are Portico emulations
and models of classic compressors and
multi-effects units (such as the Eventide
H3000 or the TC Electronic VSS4). But
there is also a tape machine emulation
with four models, which we will touch on
in more detail later. VCM is further used
to model the Rupert Neve Designs Silk
circuitry in the input stage. The input
and output modules in the stage racks
are independent from the processing
core. Users can choose between two
types with a distinct difference: only
the “native” Rivage racks called RPio
are equipped with their own DSPs on
the input cards (RY16-ML-SILK). These
modules are further deployed for the
eight local analog inputs of the control
surface, the so-called Omni inputs.
This is because the processing of the
Silk input stages always takes place
right at the physical analogue inputs.
Consequently, the signal has already
been processed by the Silk effect once
it is passed on to the processing core -
including the high pass filter and trim
level. Any post-processing with Silk is
not possible as it is unavailable in the
plug-in racks. The big advantage of this
approach is that the sonic “upgrade” of
the Silk processing is then inherent for
all the members of the network. Whether
that’s front-of-house, the monitor
console, or the multi-track recording in
the OB truck. The downside is, however,
that there is no “neutral” recording
and that Silk cannot be applied for any
digital inputs or returns from the DAW.
The fact that Silk has already been part
of the processing also has to be kept in
mind when doing a virtual soundcheck.
We will lay out the details of Silk further
down.
The Rivage PM10 deploys a proprietary
digital audio network protocol called
Twinlane to transmit the high channel
count. Dante and other standard
interfaces are certainly also supported
as alternatives. Yamaha developed
Twinlane at a time when Dante could
not yet handle the high number of
channels with the required latency.
Alternatively to the current RPios it is
also possible to use existing stage racks
from Yamaha’s Rio series used for the
smaller CL series consoles with Dante
interfacing. Those are not equipped
with Silk though, which means that this
feature will be inaccessible. The third
and most obvious component of the
Rivage system is the control surface. It
is currently available in two sizes: the
CS-R10 with 38 faders or the CS-R10-S
with 26 faders. The size of the control
surface is independent from the above-
mentioned processing power of the
DSP engine. The latter of which could
in fact be exclusively controlled by the
software editor of the StageMix app,
although that would hardly make sense.
Yamaha presented the smaller sibling,
the Rivage PM7, designed for smaller
events and installations with existing,
pre-configured wiring at this year’s
Prolight+Sound show. This console
offers the exact same control surface
as the PM10, but the processing core
is built into the console housing. The
capabilities of the PM7 are only slightly
less powerful than those of the PM10.
Processing power has been reduced to
supporting 120 channels, 60 busses,
and 24 matrix sources, for example. The
smaller, more compact system is then
comprised of just the console and the
stage racks, but the limitations of the
 Operability

Every Detail Designed for

Optimum Operating Feel
The way CL series functions and controls work together is a perfect
example of how a whole can be greater than the sum of its parts. Within
the larger framework of the user interface, the visibility, feel, and
precision of individual faders, knobs, and switches are an essential part
of the overall operating experience. The visual flow of the control layout
across the consoles’ sweeping curves makes a significant contribution to
smooth operation as well. The outstanding balance of the entire system,
plus refinements such as programmable channel names/colors and user
defined knobs, add up to operation that is, in a word, sublime.

Newly Designed Faders
No detail of form or function has been
overlooked, right down to how the
curvature of the elegant fader knobs
comfortably fit the fingers at any angle.
The fader knobs even have non-slip
inserts that provide ideal friction for
smooth, slip-free fades. Visibility is
important too, so the knob edges are
sculpted to provide a clear view of the
fader scale from just about any angle.
Editable Channel Names and Colors
Editable channel name displays above each
fader automatically switch to a larger character
size for short names, and show pan and fader
values as well. Below each channel name
display is a color bar that illuminates in any of
eight selectable colors, the same as those used
in the central touch screen, for at-a-glance
channel and group identification. Brightness
can be adjusted for optimum visibility under
any ambient lighting conditions.
Direct Access to
the Parameters You Need
The User Defined Keys provided on Yamaha
digital consoles are already a standard. The User
Defined Knobs provided on the CL series
consoles will quickly achieve the same status.
Just about any of the console’s variable
parameters can be assigned to the four User
Defined Knobs for direct, instant access.
Another advanced control feature is Custom
Fader Bank selection, allowing the faders in each
section to be instantly reordered as required.
Harmony in Form and Function
The sweeping form of the CL consoles is
not only elegant, but it provides the best
possible view of all controls and displays
from the operator’s position. The visual
continuity from the Centralogic faders to
the display is seamless. The hand rest is
genuine oak with a gorgeous finish that
matches the visual and tactile
sophistication of the overall design.

10
 Functionality

Full Integration of
FOH and Monitor Control
Multiple CL series consoles can share control of the same I/O rack unit, allowing unprecedented system flexibility and efficient
use of system resources. A new Gain Compensation function adds the ability to combine FOH and monitor control via a single
network, for comprehensive digital live sound integration.

I/O Rack Unit Sharing with Digital Gain Control

Gain Compensation Analog Compensation
Gain Gain FoH
Digital Gain
Gain compensation applied after
One obvious drawback of connecting any initial analog gain levels are set
multiple consoles to a single I/O rack unit is carried out entirely in the digital
is that gain adjustments made from one domain. Digital gain control is
console can cause unexpected gain Stable another original CL series feature
Level
changes at the other consoles. The Gain that contributes to extraordinarily
Compensation function implemented in Monitor smooth, efficient operation and
the CL consoles ensures that when the Digital Gain
integration of the entire system.
analog gain stage is adjusted from one of
the consoles, corresponding
compensation is automatically applied at the digital stage so that the level sent from the I/O
rack unit to the connected CL consoles remains constant.

12
 Functionality

A Complete Live Sound Toolkit

The quality and variety of internal effects have become major factors in choosing a digital live sound
console. Studio quality sound is a must, but so is having the right processors for the job at hand. CL
series consoles feature virtual effect racks that are packed with a selection of effects that have been
chosen and developed to meet the real-world needs of live sound professionals. Everything you
need to create perfectly polished sound for your application is right here.

Premium Rack Brings

Studio Standards to
the Live Stage
As the name implies, “virtual racks”
provided in the CL series consoles let
you combine signal processors you
need for your application in one easily
accessible location, much like
traditional analog outboard racks. The
new CL series Premium Rack can
accommodate up to eight instances of
the six expressive EQ and dynamics
effects provided, including the Rupert Neve Designs Portico 5033 equalizer and Portico 5043
compressor/limiter. The ability to use some of the most highly regarded studio effects in live
mixes can help you deliver unprecedented sonic quality in any venue.

Effect Rack With More Than 50 Effects
In addition to the Premium Rack described above,
the CL consoles feature an Effect Rack that allows
simultaneous use of up to 8 effects from a selection
of 46 ambience effects and 8 insertion effects, all of
outstanding quality. Although a separate EQ rack is
provided for the output buses, any of the 8 effects in
the Effect Rack can be replaced by graphic EQ units
as needed.
32-channel Graphic Equalizer Rack
The CL consoles also feature a GEQ rack that allows
graphic EQ to be inserted into the output buses as
required for room equalization and other functions.
Up to 16 31-band GEQ units can be mounted in the
rack for simultaneous use, and those GEQ units can
be individually switched to Flex15GEQ mode,
effectively providing two EQ channels that allow up
to 15 bands to be used at a time. With a full rack of GEQ units all functioning in Flex15GEQ
mode, you have a total of 32 GEQ channels for extensive equalization capacity.

13
 Functionality

A Comprehensive Range of Valued Devices

VCM technology delivers refined, musical tonality in the outstanding lineup of devices provided in the CL series Premium Rack and Effect Rack.

Portico5033 EQ-1A Open Deck

Portico5043 Premium Rack Effect Rack
Premium Rack

Here’s a unique effect

The classic studio
These devices that models both the
equalizer that is the basis for this model is still in demand
immaculately model analog circuitry of
today, highly prized for the musical response of its vacuum
the full sonic depth well-known professional tape decks plus the characteristics of
tube and transformer EQ circuitry, as well as its distinctive
and breadth of the the tape used with them. You can simply choose a deck that
boost/cut characteristics.
original analog offers the sound you need, or combine different recording and
equalizer and playback decks for a range of useful variations.
compressor/limiter
modules by Rupert Dynamic EQ
Neve. They are not only ideal for adding first-class studio- Premium Rack
quality processor sound to your mix, but are also remarkably
Comp 260
Effect Rack
easy to set up for optimum effect. Merely inserting these This original EQ
outstanding models in the signal path can enhance the sound. module detects level The compressor/limiter modeled in this device was all the
variations in specified rage in the late 70’s, featuring solid-state RMS level detection
frequency bands in circuitry and VCAs for level control. The sonic signature of
real time, dynamically this model is unmistakable.
U76
adjusting EQ gain to
Premium Rack
provide pinpoint compression, limiting, and de-essing. A
refined interface contributes to fast, easy operation. EQ 601
A studio standard that is ideal for a wide range of applications.
Effect Rack
It even features a RATIO “ALL” button that simulates the effect
of engaging all of the ratio buttons on the original.
For a sweet analog
Comp 276
EQ sound, this model
Effect Rack
recreates a popular
Opt-2A circuit topology from
Premium Rack This model is a the 70’s.
composite of several analog compressors that were popular
This is a model of one in recording studios in the 70’s. Anyone who is familiar with
of the most widely used optical studio compressors from the the originals will recognize the characteristic punch and
1960’s. The distinctive and highly regarded compression and fatness this device delivers.
release characteristics of the original are recreated with
remarkable precision.
14
 Functionality

Two Ways to Record Live

CL series consoles offer two live recording solutions: convenient 2-track
recording direct to USB memory, and high-performance multitrack recording
to a digital audio workstation via Dante. Whether it’s for a simple web upload,
a commercial release, or just material to be used for a virtual sound check the
next day, you have all the recording capability you need.

Seamless Integration with Nuendo Live

for Serious Multitrack Recording
The Steinberg Nuendo Live DAW application has been specifically designed for live
multitrack recording, providing comprehensive control and overview for smooth
operation under the most demanding live situations. An extension plug-in provides
seamless integration with CL console features, such as
channel names, markers, transport control, and more.

Dante Virtual Soundcard Convenient 2-track Recording

Dante Virtual Soundcard software, included with CL consoles and Rio3224-D/Rio1608-D to USB Memory
I/O racks, enables direct multitrack recording to a Windows or Mac based DAW without
2-track recording in mp3 format couldn’t
the need for an audio interface between the console and computer. A high-performance
be easier. Simply plug a USB memory into
DAW application such as Steinberg Nuendo Live can be used to record up to 64 tracks
the USB connector on the front panel of
with studio quality and editing capabilities.
the console and start recording. No other
equipment is required. Of course playback
Virtual Sound Check
from the USB memory is possible as well
DAW playback can be instantly patched to the CL console’s input channels so that in MP3, AAC, and WMA formats, making it
multitrack recordings can be used for “virtual” sound checks when the performers aren’t a convenient source for BGM or sound
available. Recordings of the previous day’s performance can be used for sound check on effects.
the following day!
15

Features Optimized
for Live Sound
300 Scene Memories
Up to 300 console setups can be stored as
“scenes” and instantly recalled whenever
needed. Recall Safe, Focus, and Preview
functions are also provided.
8 Mute Groups
Multiple channels can be assigned to any
of 8 mute groups for instant muting or
un-muting, with a new Dimmer Level
function.
Help File
Simply tap the on-screen “Help” button to access the onboard operation manual. Once
loaded all essential information is available directly via the console’s display, so you won’t
need to keep the printed manual with you.
Functionality
Although there are as many ways to use a mixing console as there are sound engineers, extensive
feedback from audio professionals has made it possible to provide a feature set that is ideally suited to
the real-world needs of demanding live sound applications.
Versatile Input and Output Delays
Up to 1000 ms delay on input channels
facilitates precise microphone phase
compensation, while up to 1000 ms delay
on the output ports is useful for speaker Ample EQ and Dynamics Processing 16 DCA Groups
distance compensation and room tuning. All channels feature 4-band parametric EQ 16 DCA groups allow flexible grouping of
and two dynamics processors (one multiple input channels for simultaneous
dynamic processor per output). The control.
processors include an HPF for every input,
and one also functions as a highly effective
de-esser with advanced processing
algorithms and a bandpass mode.
16 User Defined Keys 5-in/5-out GPI Interface
Multiple User Key Sets
A large number of console functions A 5-input/5-output GPI interface allows
including Sends on Fader, Tap Tempo, and Limited access to CL console functions can
the CL consoles to respond to input from
Set by Sel can be assigned to 16 User be provided for less experienced operators
external switches, as well as to transmit
Defined Keys for instant hands-on access. and accident prevention via multiple User
on/off status to external devices.
Key sets that can be stored in the console
itself as well as on USB memory.
16
 Additional Features

New Remote Control Freedom Today’s Data for Tomorrow’s Show

With the CL StageMix application, an iPad becomes a wireless remote controller that can be used The Yamaha Console File Converter is an
to set up and operate CL consoles from anywhere on stage or in the audience seating area. application that allows data to be shared between
There’s even a built-in iPad stay on the CL5 and CL3 panels, providing a convenient mount for an a number of Yamaha digital mixing consoles, and
iPad to be used for additional control functionality. There’s also the CL Editor application for the CL series consoles are included in the latest
computers running Windows or Mac operating systems, for both extended online operation and version. You can share data between CL series,
offline setup and editing. In addition to full Selected Channel and Overview display operation, the PM5D, M7CL, and LS9 consoles, so data from one
CL Editor facilitates scene data management, patch list editing, channel name editing, and much show doesn’t have to be completely
more. It’s even possible to use the CL StageMix and CL Editor applications at the same time. reprogrammed from scratch for the next, even if
different consoles are used.
CL StageMix CL Editor

LS9
PM5D
M7CL

* CL StageMix can be downloaded from CL series

Apple's App Store at no charge.
* Apple, the Apple logo, and iPad are trademarks of
Apple Inc., registered in the U.S. and other countries.

17
 Additional Features

Expandable and Adaptable

Three Mini-YGDAI card slots on the CL consoles provide easy I/O expansion as well as extra
processing capabilities. New additions to the expansion card lineup include an MY8-LAKE card
that integrates Lake Processing, a staple in today’s live sound field, into the console, and a
Dugan-MY16 card that adds the most advanced automated microphone cueing and gain control
available.
See the entire Mini-YGDAI card lineup at the Yamaha Pro Audio website : http://www.yamahaproaudio.com/

Increased Power with Lake Speaker Processing Power Cascade Link

Lake processing has become a standard for loudspeaker processing in live For applications that require a large number of input channels, CL consoles can be cascade-
sound applications. An alliance between Yamaha and Lab.gruppen brings connected via I/O cards such as the MY16-AE installed in their Mini-YGDAI expansion card slots.
Lake Processing right into the CL series mixing consoles, via the MY8-LAKE
expansion card. The MY8-LAKE card provides 8-in/8-out in Mesa (system EQ), 4-in/12-out
Contour (crossover), and 4-in/4-out and 2-in/6-out Mesa & Contour (combination) modes.
Although primarily intended for speaker processing, the asymmetrical Mesa EQ can also be
very useful on input sources. The Lake Controller application running on a compatible
computer allows management of multiple Lake devices in the system, while close
compatibility with Smaart®
contributes to smooth, efficient
speaker system tuning.

Mesa EQ Ideal Graphic EQ Linear Phase Crossover

Automatic Gain Control for Up To 16 Microphone Inputs

The Dugan-MY16 automatic mixer card, developed in
cooperation with Dan Dugan Sound Design, provides
smoothly automated microphone cueing and gain control
for up to 16 input channels. Rather than using gates to open and close channels, the
Dugan system uses gain sharing and fades for smooth, natural level changes.

18
 CL5/CL3/CL1 Specifications Rio3224-D/Rio1608-D/Ri8-D/Ro8-D Specifications
General Specifications General Specifications
44.1kHz 44.1kHz
Internal ±200ppm
48kHz +4.1667%, +0.1%, -0.1%, -4.0%
44.1kHz 48kHz
Sampling Frequency ±200ppm ±200ppm
+4.1667%, +0.1%, -0.1%, -4.0% +4.1667%, +0.1%, -0.1%, -4.0%
External Sampling Frequency External
48kHz 88.2kHz
±200ppm ±200ppm
+4.1667%, +0.1%, -0.1%, -4.0% +4.1667%, +0.1%, -0.1%, -4.0%
Signal Delay Less than 2.5ms, OMNI IN to OMNI OUT, Fs=48kHz 96kHz
Fader 100mm motorized, Resolution=1024steps, +10dB to -138dB, -∞dB all faders ±200ppm
+4.1667%, +0.1%, -0.1%, -4.0%
Frequency Response +0.5, -1.5dB 20Hz-20kHz, refer to +4dBu output @1kHz, OMNI IN  to OMNI OUT Signal Delay Less than 3ms INPUT to OUTPUT, connect with CL5 using Dante, Dante Receive Latency set to 0.25ms (one way), Fs=48kHz
Total Harmonic Distortion*3 Less than 0.05% 20Hz-20kHz@+4dBu into 600Ω, OMNI IN to OMNI OUT, Input Gain = Min. +0.5, -1.5dB 20Hz-20kHz, refer to +4dBu output @1kHz, INPUT to OUTPUT, Fs=44.1kHz, 48kHz
-128dBu typ., Equivalent Input Noise, Input Gain=Max., Frequency Response
Hum & Noise*4 +0.5, -1.5dB 20Hz-40kHz, refer to +4dBu output @1kHz, INPUT to OUTPUT, Fs=88.2kHz, 96kHz
-88dBu, Residual output noise, ST master off Less than 0.05% 20Hz-20kHz@+4dBu into 600Ω, Fs=44.1kHz, 48kHz
112dB typ., DA Converter,
Dynamic Range Total Harmonic Distortion*3 Less than 0.05% 20Hz-40kHz@+4dBu into 600Ω, Fs=88.2kHz, 96kHz
108dB typ., OMNI IN to OMNI OUT, Input Gain = Min.
INPUT to OUTPUT, Input Gain = Min.
Crosstalk@1kHz -100dB*1, adjacent OMNI IN/OMNI OUT channels, Input Gain = Min.
-128dBu typ., Equivalent Input Noise,  Input Gain=Max.
CL5: 1053mm x 299mm x 667mm (41 1/2in x 11 3/4in x 26 1/4in), 36kg (79.4lb) Hum & Noise*4
Dimensions (WxHxD) -88dBu Residual output noise, ST master off.
CL3: 839mm x 299mm*2 x 667mm (33 1/8in x 11 3/4in x 26 1/4in), 29kg (63.9lb)*2
and Net Weight Dynamic Range 108dB typ., INPUT to OUTPUT, Input Gain = Min.
CL1: 648mm x 299mm*2 x 667mm (25 5/8in x 11 3/4in x 26 1/4in), 24kg (52.9lb)*2
Crosstalk@1kHz -100dB*1, adjacent INPUT/OUTPUT channels, Input Gain = Min.
Power Requirements CL5/CL3/CL1: 170W, Internal Power Supply
(wattage) CL5/CL3/CL1: 200W, Simultaneous use of Internal PSU and External PW800W Rio3224-D: 480mm x 232mm*2 x 362mm (18 7/8in x 9 1/4in x 14 1/4in), 12.4kg (27.3lb)
US/Canada: 120V 60Hz, Japan: 100V 50/60Hz, China: 110-240V 50/60Hz Dimensions (WxHxD) Rio1608-D: 480mm x 144mm*2 x 362mm (18 7/8in x 5 3/4in x 14 1/4in), 8.8kg (19.4lb)
Power Requirements
(voltage and hertz) Korea: 220V 60Hz, Other: 110-240V 50/60Hz and Net Weight Ri8-D: 480mm x 44mm x 362mm (18 7/8in x 1 3/4in x 14 1/4in), 4.5kg (10.0lb)
Temperature Range Operating temperature range: 0 - 40℃, Storage temperature range: -20 - 60℃ Ro8-D: 480mm x 44mm x 359mm (18 7/8in x 1 3/4in x 14 1/8in), 4.4kg (9.7lb)
*1 Crosstalk is measured with a 30dB/octave filter @22kHz  *2 Excluded MBCL optional meter bridge. Rio3224-D: 120W
*3 Total Harmonic Distortion is measured with 18dB/octave filter @80kHz *4 Hum & Noise are measured with A-Weight filter. Power Requirements Rio1608-D: 70W
(wattage) Ri8-D: 35W
Ro8-D: 35W
Analog Input Characteristics Power Requirements US/Canada: 120V 60Hz, Japan: 100V 50/60Hz, China: 110-240V 50/60Hz
Actual Load For Use With Input Level (voltage and hertz) Korea: 220V 60Hz, Other: 110-240V 50/60Hz
Input Terminals GAIN Impedance Nominal Connector Operating temperature range: 0 - 40℃
Sensitivity*1 Nominal Max. before clip
Temperature Range
+66dB 50-600Ω Mics & -82dBu (61.6µV) -62dBu (0.616mV) -42dBu (6.16mV) Storage temperature range: -20 - 60℃
OMNI IN 1-8 7.5kΩ XLR-3-31 type (Balanced) *2
-6dB 600Ω Lines -10dBu (245mV) +10dBu (2.45V) +30dBu (24.5V) *1 Crosstalk is measured with a 30dB/octave filter @22kHz  *2 Including rubber feet.  *3 Total Harmonic Distortion is measured with 18dB/octave filter @80kHz  *4 Hum & Noise are measured with A-Weight filter.
+64dB 50-600Ω Mics & -70dBu (0.245mV) -60dBu (0.775mV) -40dBu (7.75mV)
TALKBACK 10kΩ XLR-3-31 type (Balanced) *2
+20dB 600Ω Lines -26dBu (38.8mV) -16dBu (0.123V) +4dBu (1.23V)
*1. Sensitivity is the lowest level that will produce an output of +4dBu(1.23V) or the nominal output level when the unit is set to maximum gain.(all faders and level controls are maximum position.)
*2. XLR-3-31 type connectors are balanced..(1=GND, 2=HOT, 3=COLD) *3. In these specifications, 0dBu = 0.775 Vrms. *4. All input AD converters  are 24bit linear, 128times oversampling.
*5. +48V DC ( phantom power ) is supplied to OMNI IN (1-8) and TALKBACK XLR type connectors via each individual software controlled switches.
Analog Input Characteristics
Actual Load For Use With Input Level
Input Terminals GAIN Impedance Nominal Connector
Nominal Max. before clip
Analog Output Characteristics INPUT 1-32 (Rio3224-D) +66dB -62dBu (0.616mV) -42dBu (6.16mV)
50-600Ω Mics &
Actual Source For Use With Output Level             1-16 (Rio1608-D) 7.5kΩ XLR-3-31 type (Balanced) *1
Output Terminals GAIN SW*5 Connector -6dB 600Ω Lines +10dBu (2.45V) +30dBu (24.5V)
Impedance Nominal Nominal Max. before clip             1-8 (Ri8-D)
+24dB (default) +4dBu (1.23 V) +24dBu (12.3 V) *1. XLR-3-31 type connectors are balanced.(1=GND, 2=HOT, 3=COLD)  *2. In these specifications, 0dBu = 0.775 Vrms.  *3. All input AD converters  are 24bit linear, 128times oversampling.
OMNI OUT 1-8 75Ω 600Ω Lines XLR-3-32 type (Balanced)*1  *4. +48V DC ( phantom power ) is supplied to INPUT XLR type connectors via each individual software controlled switch. 
+18dB -2dBu (616mV) +18dBu (6.16V)
 
8Ω Phones - 75mW*6 150mW
PHONES 15Ω Stereo Phone Jack (TRS) (Unbalanced)*2 
40Ω Phones - 65mW *6 150mW Analog Output Characteristics
*1. XLR-3-32 type connectors are balanced.( 1=GND, 2=HOT, 3=COLD ) *2. PHONES stereo phone jack is unbalanced.( Tip=LEFT, Ring=RIGHT, Sleeve=GND ) *3. In these specifications, 0dBu = 0.775 Vrms. Actual Source For Use With Max.Output Level Output Level
*4. All output DA converters are 24bit, 128times oversampling. *5. There are switches inside the body to preset the maximum output level. *6. The position of the level control is 10dB lowered from Max. Output Terminals Impedance Nominal Select SW*4 Connector
Nominal Max. before clip
OUTPUT 1-16 (Rio3224-D) +24dB (default) +4dBu (1.23 V) +24dBu (12.3V)
75Ω 600Ω Lines XLR-3-32 type (Balanced) *1
Digital Input & Output Characteristics                1-8 (Rio1608-D, Ro8-D) +18dB -2dBu (616mV) +18dBu (6.16V)
Terminal Format Data length Level Audio Connector *1. XLR-3-32 type connectors are balanced.( 1=GND, 2=HOT, 3=COLD )  *2. In these specifications, 0dBu = 0.775 Vrms.  *3. All output DA converters are 24bit, 128times oversampling.
*4. There are switches inside the body to preset the maximum output level.
Primary/Secondary Dante 24bit or 32bit 1000Base-T 64ch Input/64ch Output @48kHz  etherCON Cat5e

Digital Output Characteristics Digital Input & Output Characteristics
Terminal Format Data length Level Connector Terminal Format Data length Level Audio Connector
DIGITAL OUT AES/EBU AES/EBU Professional Use 24bit RS422 XLR-3-32 type (Balanced)*1 24ch Input/32ch Output (Rio3224-D)
*1. XLR-3-32 type connectors are balanced. (1=GND, 2=HOT, 3=COLD) 8ch Input/16ch Output (Rio1608-D) etherCON Cat5e (Rio3224-D, Rio1608-D)
Primary/Secondary Dante 24bit or 32bit 1000Base-T
8ch Output (Ri8-D) RJ-45 (Ri8-D, Ro8-D)
I/O Slot (1-3) Characteristics  8ch Input (Ro8-D)
Each I/O Slot accepts a Mini-YGDAI card. Only Slot1 has a serial interface.

Control I/O Characteristics
Terminal Format Level  Connector Digital Output Characteristics
IN MIDI -  DIN Connector 5P  Terminal Format Data length Level Connector
MIDI
OUT MIDI -  DIN Connector 5P  AES/EBU OUT 1/2 - 7/8*1 AES/EBU Professional Use 24bit RS422 XLR-3-32 type (Balanced)*2
IN - TTL/75Ω terminated  BNC Connector  *1 Rio3224-D only  *2. XLR-3-32 type connectors are balanced.( 1=GND, 2=HOT, 3=COLD )
WORD CLOCK
OUT - TTL/75Ω BNC Connector 
GPI (5IN/5OUT)  - -  D-Sub Connector 15P (Female) *1 
NETWORK  IEEE802.3 10BASE-T/100Base-TX/  RJ-45 
LAMP (CL5=3, CL3=2, CL1=1)  - 0V - 12V XLR-4-31 type *2 
USB HOST  USB 2.0 -  USB A Connector (Female) 
Meter Bridge (CL3/CL1 only)  - -    D-Sub Connector 9P (Female) 
*1. Input pins: Internal TTL-level pull-up resistors provided (47kΩ). Output pins: Open-drain output (Vmax = 12V, max. sink current/pin = 75mA)
     Power pins: Output voltage Vp = 5V, max. output current Imax = 300mA
*2. Pin 4 = +12V, Pin 3 = GND, lamp rating 5W. Software voltage control.

21
 System Examples
A comprehensive product lineup and Dante networking make it easy to assemble powerful,
reliable systems for a wide range of applications.

A Simple Daisy-chain System A Flexible, Redundant Star Network

Internal port switches allow the CL series to be easily set up for daisy-chain or star
network configurations. In this example the Console at FOH position is directly
connected to the I/O rack at the side of the stage. The network is self-configured. Of
course the CL StageMix iPad app can be used even in simple systems like this one, and
Dante Virtual Soundcard can be used to enable multitrack recording to a DAW such as
Steinberg's Nuendo Live.
Star topologies can be configured with gigabit network switches. In this configuration,
redundant connections to each device on the network ensure that a malfunction in one
cable or network device will not disrupt the entire system. The Gain Compensation
feature allows multiple consoles to control analog gain for a single I/O rack, for seamless
integration of FOH and monitor operation. Multiple computers can be used for live
recording, too.

Wi-Fi
AccessPoint

SP2060

AES/EBU
Rio3224‐D Rio3224‐D Rio3224‐D
CL3 Monitor

CL StageMix
Rio3224‐D

Primary Switch Secondary Switch

PC for Live Recording

CL StageMix

Primary Switch Secondary Switch

Wi-Fi
Access
Point Wi-Fi
Access
Point

CL StageMix CL5 PC for Live Recording PC for Live Recording CL5 FoH Ri8‐D

* CL firmware V1.5 or later is required for Ri8-D analog gain control.

19
 testbericht

Figure 9: THD spectrum Silk blue Neve Shelford Channel, fully counter- Figure 10: THD spectrum Silk red Yamaha, fully counterclockwise
clockwise (blue), 12 o’clock (green), and fully clockwise (red) (blue), 12 o’clock (green), and fully clockwise (red)

Figure 11: THD spectrum Silk red Neve Shelford Channel, fully counter- Figure 12: Amplitude (solid) and phase (dashed) frequency response
clockwise (blue), 12 o’clock (green), and fully clockwise (red) Opendeck, Swiss 85 (blue), Swiss 78 (red), Swiss 70 (green) and Ameri-
can 70 (purple)

the silk settings. The response of the
THD also shifts as expected. Figure 6
illustrates very well how the added THD
dominates the clipping characteristics
of the converter by several magnitudes.
As such the THD is by no means static,
but rather changes as a function of
frequency quite significantly. The
behaviour of both colour variations at -3
dBFS level is shown in figure 7. In these
cases the texture control was set to 8
out of 10. This is not an exaggerated
setting because the emulation, just
like its original prototype, only yields
a significantly audible effect beyond
its half-way point (12 o’clock setting).
It’s a favourable coincidence that we
measured the Rupert Neve Shelford
Channel in similar conditions back
a while. So the THD spectra of the
Silk implementations in the Shelford
Channel and in Yamaha’s PM10 can for
the most part be directly compared.
All measurements were carried out
with three texture settings at the
counterclockwise extreme (blue), 12
o’clock (green), and clockwise extreme
(red). Let’s start with the Yamaha Silk
blue in figure 8 and the corresponding
comparison with the Shelford Channel
in figure 9. The absolute characteristics
are certainly comparable, but the
spectral compositions show a few
differences. Silk red shows a similar
behaviour in figure 10 compared with
Rupert Neve in figure 11. As a general
rule, Yamaha seems to achieve an even
stronger discrimination between red
and blue than Rupert Neve himself. This
may be due to the circumstance that the
effects of the simulation can naturally
be better controlled than the behaviour
of analogue components - particularly
a complex one like a transformer.
It definitely becomes evident that
Yamaha has gone to great lengths with
the emulation, because the dynamic
behaviour as a function of frequency
and level is quite detailed hinting
towards a significant development and
processing effort. Whether or not the
emulation fully hits the mark cannot be
concluded with complete confidence,
because we don’t know which silk
circuitry served as the prototype for the
modelling.
Silk hands-on
and sound
For a fair contest of the sound quality
we didn’t just process isolated signals,
but we decided to treat three multi-
track projects with Silk. These projects
were then mixed just by means of level
balance and panning. Sound sources
were both recordings of acoustic
instruments as well as purely digital
signals. This resulted in a diverse mix

6|7 S tu d io Magazin 06/1 8

 NEXO NXAMP Integration
Install the NXDT104 Dante Network Card in a NEXO NXAMP and it becomes possible to
communicate with CL series consoles. In addition to basic audio transmission via the
Dante network, NXAMP discovery and patching can be controlled from the CL console
touch display. You have Dante networking from input to output, plus significantly
enhanced overall operability.
Live Sound Plus Production Capability
A Nuage Advanced Production System can be merged into a live sound system based on
CL Series consoles and Rio Series I/O units via Dante. This makes it possible to provide a
fully integrated network audio system that can handle both live sound and production in
halls or theaters that have on-site recording rooms, for example. Since automatic gain
compensation can be applied when Rio Series I/O units are used with CL Series consoles,
analog gain adjustments in multiple CL consoles connected to a common Rio unit will not
cause unwanted changes in overall level.

Monitor Amplifier Room

TX6n TX6n DME64N

Rio3224‐D Rio3224‐D Rio3224‐D Rio3224‐D Dante-MY16-AUD
CL3

Ro8‐D

Primary Switch
NXAMP NXAMP Rio1608‐D
NXDT104 NXDT104
Primary Switch

Primary Switch
Recording Room
FoH

CL StageMix

Primary Switch
CL5 CL1
Wi-Fi Primary Switch
Access NUAGE FADER
Point NUAGE MASTER
Control Room Primary Switch

Control

DANTE
ACCELERATOR Computer
CL5 Ri8‐D Rio1608‐D (Nuendo 6)
PC for Live Recording CL5 Ri8‐D

NUAGE I/O

* CL firmware V1.5 or later is required for Ri8-D analog gain control and NXAMP discovery and patching. * CL firmware V1.5 or later is required for Ri8-D analog gain control.

20
Dimensions
CL5 CL3 CL1
15(5/8) 15(5/8) 15(5/8)

299(11 3/4)
299(11 3/4) 201(8)
299(11 3/4)
201(8) 201(8)

667(26 1/4)
667(26 1/4)

667(26 1/4)
1053(41 1/2) 839(33 1/8) 648(25 5/8)
130(5 1/4) 130(5 1/4) 130(5 1/4)

Rio3224-D 5U Rio1608-D 3U Ri8-D 1U MBCL

6(1/4)

6(1/4)

26(1)

91(3 5/8)
362(14 1/4)
362(14 1/4)
350(13 3/4)

350(13 3/4)

355(14)

351(13 7/8)
362(14 1/4)

185(7 1/4)
6(1/4)

6(1/4)

70(2 3/4) 30(1 1/8)

374(14 3/4)

6(1/4)
480(18 7/8)
480(18 7/8)

480(18 7/8) 44(1 3/4)

220(8 5/8)

232(9 1/8)

132(5 1/4)

144(5 5/8)

Ro8-D 1U
12(1/2)

12(1/2)

351(13 7/8)
359(14 1/8)
355(14)

480(18 7/8) 3(1/8) mm (inch)

44(1 3/4)
22
 Get the iPad Application
CL eCatalog here.

CL eCatalog

P.O. BOX1, Hamamatsu Japan LPA616

www.yamahaproaudio.com Printed in Japan

*All specifications are subject to change without notice. *All trademarks and registered trademarks are property of their respective owners.
* A CL eCatalog can be downloaded from the App StoreSM free of charge. * “App Store” is a service mark of Apple Inc.