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Yamaha Pro Audio QL1 Used, Second hand

Ref. code: 1.06.805
 Yamaha Pro Audio QL1 Used, Second hand
NEW IN

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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Efficiency Rating: Level of sound output measured at a prescribed distance with a standard input power. Efficiency rating standard is 1 watt (2.83V at 8 ohms) at 1 meter over a specified frequency range and is measured in decibels.

Equalization: Loosely, any type of relative frequency adjustment. Specifically, the process of changing the frequency balance of an electrical signal to alter the acoustical output.

Equalizer: A component designed to alter the frequency balance of an audio signal. Equalizers may be graphic, parametric, or a combination of both.

Fade: A gradual increase in audio, i.e. a fade-up, or a gradual decrease in audio, i.e. a fade-down.

Feedback: The transmission of current or voltage from the output of a device back to the input, where it interacts with the input signal to modify operation of the device. Feedback is positive when it’s in phase with the input and negative when it's out of phase.

FM: Frequency Modulated.

Frequency: The number of cycles (vibrations) per second. In audio, audible frequencies commonly range from 20 to 20,000 cycles per second (Hz). In video, frequency is used to define the image resolution. Low-frequency video images depict large objects or images. Higher frequencies depict smaller objects (finer details.

Frequency Response: A measure of what frequencies can be reproduced and how accurately they are reproduced. A measurement of 20 to 20,000 Hz, 3dB means those frequencies between 20 and 20,000 Hz can be reproduced no more than 3 dB above or below a reference frequency level.

Full-Range: A speaker designed to reproduce the full range (20 Hz to 20 kHz) of audio frequencies.

Gain: Increase in level or amplitude.

Gooseneck: This refers to a microphone with a flexible neck that is most frequently attached to a podium or lectern. It is designed to allow the speaker to raise or lower the microphone to a suitable height.

Graphic Equalizer: A type of equalizer with sliding controls that creates a pattern representing a graph of the frequency-response changes. Raising sliders boosts the affected frequencies lowering sliders cuts (attenuates) the affected frequencies.

HDCP: High-Bandwidth Digital Content Protection. Created by Intel, HDCP is used with HDTV signals over DVI and HDMI connections and on D-Theater D-VHS recordings to prevent unauthorized duplication of copyright material.

HDR: Hard-Drive Recorder. Device that uses a computer hard drive to store compressed digital audio and video signals.

High Pass: A filter that passes high frequencies, and attenuates low frequencies. Same as low cut.

Hz: Hertz or cycles per second. Something that repeats a cycle once each second moves at a rate of 1 Hz.

Incue/Inq/In-Point: These words all refer to the initial few seconds of audio signifying the beginning of the production.

Integrated Amplifier: A combination preamp and amplifier.

Impedance: A measure of the impediment to the flow of alternating current, measured in ohms at a given frequency. Larger numbers mean higher resistance to current flow.

KHz: Kilohertz or one thousand Hz.

Lavaliere: A small microphone that attaches to clothing, allowing the speaker to have a hands-free presentation.

Line Array: A group of speakers that have been arrayed or ” built up” in the vertical or horizontal plane, which allow for a highly consistent sound field. A Line Array is perfect for medium to large audiences.

Line-Level (Low-Level): A level of electrical signals too low to make the average speaker move sufficiently. Amplifiers receive line-level signals and amplify them to speaker level.

lockout: The final words of a segment used to signify the production’s conclusion.

Low Pass: A filter that lets low frequencies go through but doesn’t let high frequencies go through. Same as high cut.

MHz: Megahertz, or 1 million Hz.

Midbass: The middle of the bass part of the frequency range, from approximately 50 to 100 Hz (upper bass would be from 100 to 200 Hz). Also used as a term for loudspeaker drivers designed to reproduce both bass and midrange frequencies.

Midrange: The middle of the audio frequency range. Also used as a term for loudspeaker drivers designed to reproduce this range.

Mixer: This is the unit in which audio signals are directed from. A mixer provides for both mic and line input combinations while allowing you to control one or more outputs.

MLP: Meridian Lossless Packing. Encoding format that is able to completely reconstruct the original signal at the receiving end. No information is lost or discarded, regardless of how trivial it might be. Used to encode six channels of high-resolution audio on DVD-A.

Mono: Monophonic sound. One channel.

MP3: MPEG-1 Audio Layer-3. Compression scheme used to transfer audio files via the Internet and store in portable players and digital audio servers.

Natural Sound (NATS): The nonverbal audio that occurs in a non-studio setting. NATS can be used to help characterize the setting.

Noise: An unwanted portion of a signal such as hiss, hum, whine, static, or buzzing.

Nonlinear Editing: Digital audio systems that allow for clips to be extracted without affecting the master recording.


Professional used lighting equipment.| Professional second hand lighting equipment.| Professional pre owned lighting equipment.
Professional used audio equipment.| Professional second hand audio equipment.| Professional pre owned audio equipment.
Second hand audio gear. | Second hand lighting.
Pro audio equipment, second hand amplifiers, DJ, second hand sound systems, second hand Microphones, second hand Media Players.
Outdoor & Indoor LED screens for sale, LED mobile truck.
Light trussing, Gebrauchte Veranstaltungstechnik, used stage equipment Stage & Theatre lighting products.

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