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Yamaha Pro Audio QL1 Ex-demo, Like new

Ref. code: 1.06.463

QL1

Digital Mixing Console
Your All-in-one Mixing Solution

Packed with many of the core features of their acclaimed CL Series, the Yamaha QL1 32-channel digital mixer is your ideal compact all-in-one solution for mixing, processing, and routing audio. Loaded with premium internal processors, including stellar-sounding EQ and dynamics tools developed in cooperation with Rupert Neve Designs, the QL1 will bring out the best sonic character in any source. With built-in automixing functionality, Dante network support, and remote control via your tablet or computer, the Yamaha QL1 is the perfect sound reinforcement solution for small- to medium-scale live sound, corporate speech events, broadcast, and more!

  • Premium internal processors simulate classic studio gear and more
  • Rupert Neve-designed EQ and dynamics for studio-quality sound
  • Automixing functionality via the Dan Dugan automatic mixer
  • Dante network support lets you create complex system designs
  • Remote control via tablet or computer lets you go deep into your mix
  • Tons of scene memory, customization options, and more
Pure, natural sound and powerful processing

In order to produce great mixes, audio engineers need to have uncolored, natural sound as a starting point. That`s why the Yamaha QL1 features top-shelf circuitry and components ? to provide you with pristine audio from input to output. And when you`re ready to get creative, the QL1`s powerful Virtual Circuity Modeling (VCM) technology effectively captures various pieces of analog gear right down to their individual components (including models influenced by an 1176, LA-2A, and EQ-1A), injecting your mix with an abundance of authentic-sounding analog vibe. Of course, the crown jewel of the QL1`s analog emulations is its VCM versions of the Rupert Neve Designs Portico 5033 EQ and 5043 compressor developed in collaboration with Rupert Neve Designs! You also get Yamaha REV-X reverb processors and a graphic EQ for your buses.

  • Top-shelf circuitry and components
  • Virtual Circuity Modeling (VCM) analog emulations
  • Modeled Rupert Neve Designs Portico 5033 EQ and 5043 compressor
  • Yamaha REV-X reverb, graphic EQ, and more
Revolutionary Dan Dugan automatic mixer

The Yamaha QL1 comes armed with Dan Dugan Sound Design`s revolutionary automatic microphone mixing technology. This remarkable processor, which can be loaded into up to 16 channels simultaneously, lets you automatically optimize your microphone gain distribution for speech applications. The result is smooth, natural gain control ? the QL1 almost mixes itself! This is a lifesaver for a non-engineer volunteer who runs live sound in a house of worship or at a community event. This is especially useful in non-scripted situations, as it allows you to concentrate on the balance rather than having to chase talkers on the faders.

  • Dan Dugan Sound Design`s automixing technology
  • Up to 16 channels of Dugan Speech System
  • A lifesaver for non-engineer sound volunteers
Refined control for smooth operation

When you`re running live sound, you`ve got to move quickly! Well, Yamaha took this into account, making visibility and usability hallmarks of the QL1`s design. First of all, the QL1`s large, easy-to-navigate touch-panel display makes working in the dark child`s play. You`ll love the intuitive design of the QL1`s selected Channel interface, which provides you with a comprehensive overview of the parameters available to you for the channel that you`re working on. On top of that, you get remarkably comfortable faders and a straightforward Touch-and-Turn knob, which make operating the QL1 a phenomenally smooth, efficient experience. You also get remote control and offline setup capability via your iPad or computer, adding even more refinement to an already state-of-the-art operating environment.

  • Straightforward Touch and Turn knob
  • Intuitive selected Channel interface
  • Comfortable sculpted faders and knobs
  • Remote control and offline setup capability
Link it up with built-in Dante networking

Network capability is essential in today`s live sound applications, and the Yamaha QL1 has everything you need. By utilizing the widely-implemented Dante networking protocol, the QL1 is able to interface with other Dante-compatible devices to create systems of just about any scale or complexity. Additionally, the QL1`s "Port to Port" feature allows its inputs and outputs to be used as elements in a larger system, providing you with unprecedented routing capabilities for front-of-house and monitor consoles. And you`ll never have to worry about gain complications disrupting the balance of your mix, as the QL1`s Gain Compensation feature ensures that the total gain sent out via the network remains constant, regardless of which device a signal is routed through. In other words, crank up the analog gain on a stage box, and Gain Compensation will automatically turn down the volume on the network so nobody hears the volume change.

  • Widely implemented Dante networking protocol
  • Expand your rig with the Port to Port feature
  • Automatic Gain Compensation between devices
Expand your system with mini-YGDAI slots

The Yamaha QL1 gives you plenty of opportunities for expandability, thanks to its mini-YGDAI expansion slots, which can accept more than 30 types of expansion cards. You can also connect multiple QL1s together via I/O cards such as the MY16-AE, to create powerful systems that offer massive channel counts. The QL1 can also be cascaded to other Yamaha digital consoles such as their CL Series, giving you unprecedented flexibility. On top of that, you can use a separately sold MY8-LAKE expansion card to infuse your QL1 with Lab.gruppen`s Lake Processing technology ? Mesa EQ, Ideal Graphic EQ, Linear Phase EQ, and other processing features that are capable of fine-tuning your system in a wide variety of environments.

  • Highly versatile mini-YGDAI expansion slots
  • Connect multiple QL1s together for massive channel counts
  • Cascade the QL1 with other Yamaha digital consoles
  • Compatible with Lab.gruppen`s Lake Processing technology
Two-track recording and multitrack options

If you`re wanting to record your live shows, the Yamaha QL1 makes it easy. You can either make a 2-track recording straight to a standard USB flash drive (in MP3 format), or you can create a full-blown multitrack recording with Nuendo Live or your DAW choice via Dante. Multitrack recording is great for performing "virtual sound checks" when the band isn`t available, and for making professional recordings of your live shows. On top of that, you can play back sound files (in MP3, AAC, or WMA format) from your flash drive, for convenient playback of background music or sound effects without the need for extra playback equipment.

  • Record two tracks directly to a flash drive
  • Play back files from a flash drive
  • Create multitrack recordings with your DAW via Dante
  • Up to 32 tracks can be recorded simultaneously
Tight iPad and computer integration

Thanks to Yamaha`s state-of-the-art QL StageMix iOS app, it`s possible to mix on the QL1 remotely using your iPad. Imagine being able to mix from the audience`s or performer`s positions ? you can ensure that your show sounds great in every corner of the venue! You can also use the QL Editor app, which is compatible with both Macs and PCs, to set up the QL1`s parameters via your computer, both on- and offline. You can use the QL Editor to conveniently manage scene and patch list data, for example, and keyboard entry capability can be a huge advantage for typing channel names, etc. One thing`s for sure: both of these innovative apps are great timesavers!

  • Two amazing ways to access your settings
  • QL StageMix allows you to mix remotely with your iPad
  • QL Editor lets you set your parameters via your computer
Loaded with features and performance.

Optimized for live sound, the QL1 provides you with up to 300 scene memories, up to 1000ms of delay on its inputs and outputs, ample EQ and dynamics processing, 16 DCA groups, eight mute groups, 12 user-defined keys, multiple user key sets, a 5-in/5-out GPI interface, and more. The perfect sound reinforcement solution for small- to medium-scale live sound, corporate speech events, and broadcast, the Yamaha QL1 is a phenomenal 32-channel digital mixer!

  • Up to 300 scene memories
  • Up to 1000ms of delay on its inputs and outputs
  • Ample EQ and dynamics processing
  • 16 DCA groups
  • 8 mute groups
  • 12 user-defined keys
  • Multiple user key sets
  • 5-in/5-out GPI interface
  • Onboard help file

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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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Active: Powered. An active crossover is electrically powered and divides the line-level signal prior to amplification. An active speaker includes an active crossover and built-in amplifier.

Actuality: Audio from an announcer speaking.

Amplifier: A component that increases the gain or level of an audio signal.

Balanced Input: A connection with three conductors: two identical signal conductors that are 180 degrees out of phase with each other, and one ground. This type of connection is very resistant to line noise.

Bandpass: A two-part filter that cuts both higher and lower frequencies around a center band. A bandpass enclosure cuts high frequencies by acoustic cancellation and low frequencies by natural physical limitations on bass response.

Bandwidth: In audio, the range of frequencies a device operates within. In video, the range of frequencies passed from the input to the output. Bandwidth can also refer to the transmission capacity of an electronic communications device or system the speed of data transfer,is very important when planning a meeting for the attendees to stay connected.

Bass: Low frequencies; those below approximately 200 Hz.

Bi-Wiring: A method of connecting an amplifier or receiver to a speaker in which separate wires are run between the amp and the woofer and the amp and the tweeter.

Boost: To increase, make louder or brighter; opposite of attenuate.

Bridging: Combining two channels of an amplifier to make one channel that more powerful. One channel amplifies the positive portion of an audio signal and the other channel amplifies the negative portion, which are then combined at the output.

CD: Compact Disc. Ubiquitous digital audio format. Uses 16-bit/44.1-kHz sampling rate PCM digital signal to encode roughly 74 or 80 minutes of two- channel, full-range audio onto a 5-inch disc.

CD-R: Recordable Compact Disc.

CD-RW: Rewritable Compact Disc.

Channel: In components and systems, a channel is a separate signal path. A four-channel amplifier has at least four separate inputs and four separate outputs.

Coloration: Any change in the character of sound (such as an overemphasis on certain tones) that reduces naturalness.

Crossover: A component that divides an audio signal into two or more ranges by frequency, sending, for example, low frequencies to one output and high frequencies to another. An active crossover is powered and divides the line-level audio signal prior to amplification. A passive crossover uses no external power supply and may be used either at line level or, more commonly, at speaker level to divide the signal after amplification and send the low frequencies to the woofer and the high frequencies to the tweeter.

Crossover Frequency: The frequency at which an audio signal is divided. 80 Hz is a typical subwoofer crossover point and is the recommended crossover point in theatrical and home THX systems. Frequencies below 80 Hz are sent to the subwoofer signals above 80 Hz are sent to the main speakers.

Cut: To reduce, lower; opposite of boost.

Decibel (dB): A logarithmic measurement unit that describes a sound`s relative loudness, though it can also be used to describe the relative difference between two power levels. A decibel is one tenth of a Bel. In sound, decibels generally measure a scale from 0 (the threshold of hearing) to 120-140 dB (the threshold of pain). A 3dB difference equates to a doubling of power. A 10dB difference is required to double the subjective volume. A 1dB difference over a broad frequency range is noticeable to most people, while a 0.2dB difference can affect the subjective impression of a sound.

Delay: The time difference between a sonic event and its perception at the listening position (sound traveling through space is delayed according to the distance it travels). People perceive spaciousness by the delay between the arrival of direct and reflected sound (larger spaces cause longer delays.

Diaphragm: The part of a dynamic loudspeaker attached to the voice coil that produces sound. It usually has the shape of a cone or dome.

Diffusion: In audio, the scattering of sound waves, reducing the sense of localization. In video, the scattering of light waves, reducing hot spotting, as in a diffusion screen.

Digital Audio Server: Essentially a hard drive, a digital audio server stores compressed audio files (like MP3 or WMA). Most include the processing to make the files, and all have the ability to play them back.

Direct-Stream Digital: A format for encoding high-resolution audio signals. It uses a 1-bit encoder with a sampling rate of 2,822,400 samples per second (verses 44,100 for CD). Used to encode six high-resolution channels on SACD.

Dispersion: The spread of sound over a wide area.

Distortion: Any undesired change in an audio signal between input and the output.

DNR: Dynamic Noise Reduction. A signal-processing circuit that attempts to reduce the level of high-frequency noise. Unlike Dolby NR, DNR doesn’t require preprocessing during recording.

Dolby B: A noise-reduction system that increases the level of high frequencies during recording and decreases them during playback.

Dolby C: An improvement on Dolby B that provides about twice as much noise reduction.

Dolby Digital: An encoding system that digitally compresses up to 5.1 discrete channels of audio (left front, center, right front, left surround, right surround, and LFE) into a single bitstream, which can be recorded onto a DVD, HDTV broadcast, or other form of digital media. When RF-modulated, it was included on some laser discs, which requires an RF-demodulator before the signal can be decoded. Five channels are full-range; the .1 channel is a band-limited LFE track. A Dolby Digital processor (found in most new receivers, preamps, and some DVD players) can decode this signal back into the 5.1 separate channels. Most films since 1992`s Batman Returns have been recorded in a 5.1 digital format, though a number of films before that had 6-channel analog tracks that have been remastered into 5.1.

Dolby EX: An enhancement to Dolby Digital that adds a surround back channel to 5.1 soundtracks. The sixth channel is matrixed from the left and right surround channels. Often referred to as 6.1. Sometimes referred to as 7.1 if the system uses two surround back speakers, even though both speakers reproduce the same signal. Software is backwards-compatible with 5.1 systems, but requires an EX or 6.1 processor to obtain additional benefit.

Dolby Pro Logic: An enhancement of the Dolby Surround decoding process. Pro Logic decoders derive left, center, right, and a mono surround channel from two-channel Dolby Surround encoded material via matrix techniques.

Dolby Pro Logic II: An enhanced version of Pro Logic. Adds improved decoding for two-channel, non-encoded soundtracks and music.

Driver: A speaker without an enclosure; also refers to the active element of a speaker system that creates compressions and rarefactions in the air.

DSP: Digital Signal Processing. Manipulating an audio signal digitally to create various possible effects at the output. Often refers to artificially generated surround effects derived from and applied to two-channel sources.

DTS: Digital Theater Systems. A digital sound recording format, originally developed for theatrical film soundtracks, starting with Jurassic Park. Records 5.1 discrete channels of audio onto a handful of laser discs, CDs, and DVDs. Requires a player with DTS output connected to a DTS processor.

DTS ES: An enhanced version of the 5.1 DTS system. Like Dolby’s Surround EX, a sixth channel is added. In some cases (DTS ES Discrete), the sixth channel is discrete. Software is backwards-compatible with 5.1 systems, but requires an ES or 6.1 processor to obtain additional benefit. Neo: 6 is a subset of DTS ES that creates 6.1 from material with fewer original channels.

Dynamic Range: The difference between the lowest and the highest levels; in audio, it’s often expressed in decibels. In video, it’s listed as the contrast ratio.

Professional used lighting equipment.| Professional second hand lighting equipment.| Professional pre owned lighting equipment.
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