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Yamaha Pro Audio CL1 Used, Second hand

Ref. code: 1.06.045


Digital Mixing Console
Smart Solution for Broadcast and Live Sound

Designed to excel in live sound and broadcast applications, the Yamaha CL1 digital mixer delivers outstanding sound quality and impressive show control. Connect Rio series stage boxes (not included) for up to 48 mono and eight stereo mixable channels, with 16 channel faders and two master faders for control. Yamaha`s Virtual Circuitry Modeling gives you access to Neve Portico 5033 EQ and Portico 5043 compressor/limiter processors, plus other spot-on emulations of classic hardware processors. And built-in Dan Dugan automatic mixing makes it easy for any operator to optimize microphones and effectively fight feedback. In short, world-class sound is easily attainable with the Yamaha CL1 digital mixer.

Sleek Interface, Amazing Sound Engine
Centralogic UI for straightforward control

Instead of forcing you to sift through endless, complicated menus, all of the CL1`s mix controls are accessed via just two displays: Overview and selected Channel. The Overview display, which is the CL1`s default display, gives you a standard view of an 8-channel group that you select via the Centralogic navigation keys. These keys, laid out just like an 8-channel group on a console, let you easily bring any group of eight channels to the central controls with a single press of a button. The selected Channel display gives you in-depth control by letting you zoom in on the channel of your choice to adjust its individual parameters, such as preamp gain, dynamics, and EQ.

Refined sound quality

Right from the inputs all the way through, CL Series consoles are designed for optimum sound quality. Every aspect of the signal path has been refined, from the individual components and power supply to the grounding scheme, circuit layout and even mechanical construction. Even the AD/DA master clock and FPGA clock signal routing have been engineered to deliver the most musical, high-fidelity sound possible.

Premium effects rack with analog character

Yamaha`s Virtual Circuitry Modeling (VCM) technology allows for ultra-accurate digital emulations of classic analog hardware processors. CL Series consoles come equipped with VCM models of the renowned Neve Portico 5033 EQ and Portico 5043 compressor/limiter. You`ll also find stellar-sounding emulations of legendary hardware processors like the 1176, LA-2A and EQP-1A. In all, you get over 50 effects and processors to apply to inputs, outputs or busses. From adding character to individual tracks to making groups and busses sound larger than life, CL Series consoles deliver studio-quality processing for stage and broadcast.

What it means for you:You can make complicated mix adjustments fast, tap into world-class processing without setting up a rack of hardware, and enjoy amazing sound quality at every gain stage.

Advanced Tools to Mix with Precision
Scenes, output delays, DCA groups and more

With up to 300 Scene Memories available you can save and recall complete console setups, saving you serious time in repetitive mixing applications. Built-in Input and Output Delays offer up to 1000ms delay to compensate for phase issues and room tuning. You can group multiple input channels to 16 DCA groups for more convenient mixing, and any channels can be assigned to any of 8 mute groups for instant muting or dimming. For power users, 16 user-defined keys allow you instant access to Tap Tempo, Set by selection, or any other imperative functions that don`t have a dedicated button on the console.

Faders you`ll want to mix with for a lifetime

The faders on CL Series consoles feel comfortable and responsive under your fingers at any angle. Yamaha added non-slip inserts for smoother fades, and the sculpted edges help give you a better view of the fader scale.

Set up your show and mix remotely

Use the CL StageMix application to turn your iPad into a wireless remote control to set up and operate your CL Series console. It goes far beyond tweaking channel faders ? you can manage scene data, edit patch lists and channel names, configure I/O settings and more.

What it means for you: You`ll be able to manage high channel counts and complex productions efficiently, set up your show on your iPad before you get to the venue, and you`ll have the tactile response precision mixing demands.

Networking and Recording Options
Flexible networking with Dante

CL Series consoles and I/O racks communicate via Dante, allowing you to create fast and efficient audio systems that can be as simple or as complex as you need. Up to eight I/O rack units can be connected to any CL Series console, from anywhere in your facility. Dante also makes it easy to set up redundant primary and secondary lines for each device, crucial in live sound and broadcast applications.

Expand your input channel count with Cascade Link

Yamaha offers expansion cards for CL Series consoles that allow them to be cascade-connected. When you require a larger number of input channels, expanding your rig is as easy as connecting another CL Series console with a single cable.

Ample recording capabilities

Yamaha`s CL Series consoles offer maximum flexibility when it comes to recording. Seamless integration with Nuendo Live is built in, and the Dante Virtual Soundcard software supports direct multitrack recording to any DAW. For a simple stereo recording of your show, just connect a USB flash drive.

What it means for you: You can scale your system to whatever size you need, extend the size of your control surface by simply adding another mixer, and you`ll have truly professional solutions for multitrack recording.

Scale Your System to Size
Connect up to eight Rio I/O units

Yamaha CL series consoles communicate with Yamaha`s Rio I/O boxes via Dante, allowing for fast and efficient system design for live sound and broadcast. Up to eight I/O units can be connected to your CL series console, and you can place them anywhere that you need in your facility. All Rio I/O boxes support redundant connectivity for maximum reliability.

Set up your network fast and easy

One reason sound engineers love Dante is that it sets up quickly ? in most cases, all the devices on the network are recognized and configured automatically. And all signal patching can be done on your CL series console, no separate computer interface required.

Yamaha CL1 Digital Mixer Features:
  • 16-fader digital mixing console
  • 48 mono and 8 stereo mixable channels
  • Connect up to 8 Rio series stages boxes (sold separately) for I/O
  • Touchscreen display for intuitive control over the Centralogic user interface
  • Built-in Dante interface plus 3 MY-card slots for digital expansion
  • Control port for computer control (wired or Wi-Fi)
  • Portico 5033 EQ and Portico 5043 compressor/limiter processors designed by Rupert Neve Designs
  • Dan Dugan automatic mixing system easily optimizes microphone gain and fights feedback
  • Nuendo Live and Dante Virtual Soundcard licenses included

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Used Yamaha Pro Audio

Yamaha Pro Audio, Inc. is a company which is part of the Yamaha Corporation group. It offers a complete line of beginner professional audio products for the live sound and sound reinforcement markets. It has a long history of introducing significant products for the professional audio market such as the PM-1000 modular mixing console, the REV1 and SPX90 digital signal processors, and the 01, 02R, PM1D, PM5D, QL5, M7CL, CL5, and PM10/7 Rivage digital mixing consoles.
Yamaha products have received the most nominations in the area of technical achievement in the TEC Foundation TEC Awards 20-year history.

The first PM mixer manufactured by Yamaha was the PM200. Introduced in 1972, it was a monaural mixer with unbalanced inputs and outputs.
The PM400 was an upgraded mixer with a stereo bus and balanced inputs and outputs.The Yamaha PM1000 mixing console was a significant product in the professional audio industry because of its many advanced features and reasonable price. Introduced in 1974 it incorporated many innovative features such as a modular design using channel strips and output strips, a 4 bus design, and an output matrix mixer. Because it was manufactured by an established company it was readily accepted in many audio industries including sound reinforcement, recording, and audio for video. It also established a reputation for being rugged in the often abusive environment of touring sound reinforcement.
The PM2000 featured a hard chassis construction for rigidity and durability on the road. "One of the tests we are still using is our 'flight case test'. During prototyping we order a custom flight case - not even a very sturdy one - and place the console in it. The flight case is stood on end, and then tipped over in both directions and allowed to fall to the floor. If the console powers up immediately and works flawless after that ordeal, then it passes the test." The PM3000 was the first mixer to use voltage-controlled amplifiers (VCAs) in a mixer designed specifically for sound reinforcement. It used a custom VCA design using discrete hybrid ICs The PM4000 introduced stereo auxiliary buses and fully parametric Equalization on the input channels.
The PM5000 was a hybrid analog mixer with a digital control system which provided scene recall. In 1999, Yamaha debuted a first of its kind, all digital large format console, The PM1D system. With scalable I/O configuration the total channel count could be brought up to 320 mic inputs. Though, to achieve this impressive channel count, the system required multiple modular I/O boxes along with separate Digital Signal Processor(DSP) racks, power supply racks, and computer system engines.
Yamaha's next desk, the PM5D did away with the external rack system, reducing the channel count to 48 mic pres, and requiring only an external power supply unit. The Yamaha PM5D-RH(remote head-amp) was all of the functionality of a PM5D in a 10 space rack that only required a PM5D-RH control surface. In 2007, Yamaha won a Technical Grammy for its NS-10 studio monitor, a speaker that dominated the mixing of pop and rock music throughout the world for at least 20 years. The speaker was inducted into the Mix magazine TECnology Hall of Fame in 2008. The M7CL and its successor, the CL series are both among Yamaha's more affordable line. The CL Series was first to incorporate the Dante protocol. In 2014, Yamaha announced the release of a new PM series digital console, the PM10 Rivage system, equipped with Rupert Neve Designed "Silk" modeling pre-amps.

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Octave: The difference between two frequencies where one is twice the other. For example, 200 Hz is an octave higher than 100 Hz. 400 Hz is one octave higher than 200 Hz.

Optical Digital Cable: Fiber optic cable that transfers digital audio signals as light pulses.

Outcue/Outq/Out-Point: These words all refer to the final few seconds of audio signifying the conclusion of the production.

Package: A completed and fully edited audio piece.

Passive: Not active. A passive crossover uses no external power and results in insertion loss. A passive speaker is one without internal amplification.

Phase: Time relationship between signals; it’s all relative.

Power Output: A measure, usually in watts, of how much energy is modulated by a component.

Preamplifier: A control and switching component that may include equalization functions. The preamp comes in the signal chain before the amplifiers.

Pre Outs: Connectors that provide a line-level output of the internal preamp or surround processor.

Pre Outs/Main Ins: Connectors on a receiver that provide an interruptible signal loop between the output of the internal preamp or surround processor portion of the receiver and the input of the amplifier portion of the receiver.

Pre/Pro: A combination preamp and surround processor.

Processors: Anything that processes an incoming signal in some way. Surround processors, for example, can decode a Dolby Digital signal to send to an amp so you can hear it.

Pulse Code Modulation: (PCM) a way to convert sound or analog information to binary information (0s and 1s) by taking samples of the sound and record the resulting number as binary information. Used on all CDs, DVD-Audio, and just about every other digital audio format. It can sometimes be found on DVD-Video.

Q-and-A: Question and answer session.

Receiver: Any component that receives, or tunes, broadcast signals, be it NTSC, HDTV, DBS, or AM/FM radio. Typically refers to the single component that includes a preamp, surround processor, multichannel amplifier, and AM/FM tuner.

Reverberation: The reflections of sound within a closed space.

RF: Radio Frequency. Television signals are modulated onto RF signals and are then demodulated by your television’s tuner. VCRs and DBS receivers often include channel 3 or 4 modulators, allowing the output signal to be tuned by the television on those channels. Also, laser discs used an RF signal for modulating Dolby Digital 5.1 soundtracks on some movies. This requires an RF demodulator (usually referred to as an AC3-RF demodulator) before or in the surround processor to decode the signal.

RMS: Root Mean Square or the square root of the arithmetic mean (average) of the square’s set of values. A reasonably accurate method of describing an amplifier`s power output.

SACD: Super Audio CD. Enhanced audio format with up to six channels of high-resolution audio encoded using DSD. Requires an SACD player. Multichannel also requires a controller with six-channel analog or proprietary digital inputs for full playback.

Sampling Frequency: How often a digital sample is taken of an analog wave. The more samples taken, the more accurate the recording will be. You need to sample at a minimum of twice the highest frequency you want to capture. For example, the 44.1-kilohertz sampling rate of a CD cannot record sounds higher than 22.05 kilohertz.

Scener: A radio report in which the announcer is recorded at the same time and place as the background sound of an event.

Sensitivity: A measurement (in dB) of the sound-pressure level over a specified frequency range created by a speaker driven by 1 watt (2.83V at 8 ohms) of power with a microphone placed 1 meter away.

Signal-to-Noise Ratio: A comparison of the signal level relative to the noise level. Larger numbers are better.

Simultaneous Interpretation: This system allows attendees to hear the meeting in their own language.

Sound Bite: A portion of audio of someone speaking.

Sound field: The total acoustical characteristics of a space, such as ambience number, timing, and relative level of reflections; ratio of direct to reflected sound RT-60 time etc.

Soundstage: The area between two speakers that appears to the listener to be occupied by sonic images. Like a real stage, a soundstage should have width, depth, and height.

Speaker: A component that converts electrical energy into acoustical energy.

SPL: Sound-Pressure Level. Measured in dB.

Subwoofer: A speaker designed to reproduce very low bass frequencies, usually those below about 80 Hz.

THX: Certification program for home theater equipment. Uses some proprietary features, but mostly assures a base quality level for a given room size. (See THX select or Ultra.) Is compatible with any and all soundtrack formats. Stands for either Tom Holman’s eXperiment, after the engineer who drafted the original standard, or is named after the company’s founder George Lucas first movie, THX 1138. Nobody agrees on which.

THX select: Certification program for speakers and receivers that assures a base level of quality and performance when played in a room that’s between 2,000 and 3,000 cubic feet.

User-Generated Content (UGC): Text, photos, video or audio supplied by the customers of a company.

Voicer: A radio report without background audio taken from a scene or otherwise.

Wrap: A radio report containing both the reporter and an actuality.

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