Digital Mixer, Most Compact Model with All the Processing Power
- Simple Setup Platform
- Amazing Visual Flow of the Control Layout
- Editable Channel Names and Colors
- Direct Access to the Parameters
- Dante for Fast, Flexible Networking
- Full Integration of FOH and Monitor Control
- Ideal Natural Sound Platform
- Effect Rack With More Than 50 Effects
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Yamaha CL1 Digital Mixer
Dual 8-fader sections in a space-saving console that can be used alone or cascaded to another CL console for input expansion. The Yamaha CL1 has 48 mono channels plus 8 stereo channels, with two 8-fader bays and two master faders. The CL3 increases that to 64 mono channels and adds a third 8-fader bay on the left. The CL5 bumps up to 72 faders and adds a fourth 8-fader bay on the right hand side, with the optional MBCL meter bridge now built in above.
The consoles are all 26 inches deep and 12 inches high, with 25, 33 or 41-inch widths and weights of 53, 64 or 80 pounds. All specifications other than input channel capacity are consistent throughout the series, including 24 mix buses and 8 matrixes (including input to matrix mixing, for a total of 32 auxes), as well as 16 DCAs, 8 mute groups, 16 user-defined keys and four new user defined knobs that can be used for things like HPF frequency, compressor knee or reverb time, chosen from the library, just like user defined keys.
The Cl1 has the same touch screen concept that originated with the M7. Banks of eight inputs are brought to the touchscreen above an eight-fader bank. Other than the motorized fader, all the mix controls for each channel are accessed from one 8-channel overview screen or from the individual selected channel’s display. Though the selected channel screen’s layout has changed slightly, the same familiarly colored set of 33 knobs to the left of the touch screen is exactly like the M7. Tapping a parameter on the screen zooms in for in-depth control, and the multi-function encoders below the screen adjust the corresponding parameters in the display above.
Down on the fader deck, fader caps have been redesigned to be more ergonomic, with sculpted edges and non-slip inserts for ease of use. Above the faders, the channel display shows channel name, gain value, fader value and channel number or, by using the preference page, it can simply show the channel name in large letters. Just below is a color-coding strip programmed on the PATCH/NAME screen, from which eight familiar color options can be chosen.
The CL1 Series has expanded Yamaha’s previous concept of on-board racks. Besides an 8-channel Effects rack with the entire range of 46 ambience and 8 insertion effects, including the premium REV-X reverbs, there are also two 8-channel Graphic EQ racks assignable to outputs which can accommodate up to 16 total 31-band GEQs or, alternatively, up to 32 graphic EQs in the Flex15GEQ mode familiar to LS9 and M7CL users. The Effects rack can also be programmed with GEQs, allowing them to be used with input channels.
8 New Channels
Finally there’s also a new 8-channel Premium Rack for a range of six new EQ and dynamics processors that employ VCM (Virtual Circuitry Modeling) analog modeling, including Rupert Neve Designs’ Portico 5033 5-band EQ and Portico 5043 compressor/limiter, as well as a new dynamic EQ, an FET limiter, an optical compressor and a studio EQ. Previous Yamaha VCM effects, the Comp 276, Comp 260, Open Deck and EQ 601 are still available in the Effects rack, as with previous Yamaha consoles.
As is becoming common for digital consoles primarily intended to work with digital audio networks instead of analog XLR snakes, such as Yamaha’s previous M7CL-48ES, the CL desks have limited I/O on the rear, in this case consisting simply of eight Omni Ins and eight Omni Outs. The only other audio connection on the rear is an XLR AES output and a headphone jack on the front.
Other rear panel connections simply include the main and secondary Dante ports and an Ethernet control port for using a laptop running CL Editor, for attaching a WiFi router allowing the console to be controlled wirelessly with the CL StageMix iPad App, or both. Like the M7, the separately sold PW800W external power supply can be added to back up the console’s internal supply.
|44.1kHz / 48kHz|
|44.1kHz: +4.1667%, +0.1%, -0.1%, -4.0% (±200ppm), 48kHz: +4.1667%, +0.1%, -0.1%, -4.0% (±200ppm)|
|Less than 2.5ms, OMNI IN to OMNI OUT, Fs=48kHz|
|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, OMNI IN to OMNI OUT|
|112dB typ.: DA Converter / 108dB typ.: OMNI IN to OMNI OUT, Input Gain = Min.|
|-100dB*1, adjacent OMNI IN/OMNI OUT channels, Input Gain = Min.|
|US/Canada: 120V 60Hz, Japan: 100V 50/60Hz, China: 110-240V 50/60Hz, Korea: 220V 60Hz, Other: 110-240V 50/60Hz|
|170W: Internal Power Supply / 200W: Simultaneous use of Internal PSU and External PW800W|
|648mm (25 5/8in)|
|299mm (11 3/4in)|
|667mm (26 1/4in)|
|Temperature Range: Operating temperature range: 0 - 40℃, Storage temperature range: -20 - 60℃|