Yamaha TF Mixer for Marching Band: Pre-Season Set Up
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A High Pass Filter (HPF) is a tool that allows high frequencies to pass through while "filtering" out or cutting the low frequencies.
Why is it given this name?
The name is literal: it describes what the filter allows, not what it stops.
High Pass: Higher frequencies (like the clarity in a voice or the snap of a snare) are allowed to pass to the speakers.
Low Cut: Because it stops low frequencies, it is also frequently called a "Low Cut" filter.
Why use it?
It is used to clean up "muddy" sound or rumble. For example, if you are using a microphone for a vocal, you don't need the sub-bass frequencies (like the sound of a stage vibrating). By engaging the HPF, you remove that unwanted low-end noise without affecting the actual voice.
Does it have Low, Mid, and High?
Yes, the Yamaha TF5 features a full 4-band Parametric EQ for every input channel, which covers the entire frequency spectrum. While the HPF is a specialized "cut" at the very bottom, the rest of the EQ is divided into these sections:
| EQ Section | Description |
| Low (LF) | Controls the bass and "thump." This is separate from the HPF and is used to boost or cut the low-end specifically. |
| Low-Mid (LMF) | Targets "boxiness" or warmth. Great for adjusting the body of an acoustic guitar or a snare drum. |
| High-Mid (HMF) | Controls presence and "bite." This is where you adjust the clarity of a singer's lyrics or the "attack" of a drum. |
| High (HF) | Controls the "air," "shimmer," or "brightness" (sibilance) of the sound. |
Low Pass Filter (LPF)
In addition to the High Pass Filter, the TF5 also has a Low Pass Filter (LPF). Just like the HPF, the name tells you what it does: it allows low frequencies to pass and cuts off the high frequencies. This is often used on instruments like a Kick Drum or Bass Guitar to remove high-end "hiss" or "clatter" that isn't needed.
The term "Sends on Fader" is used because it describes the mechanical change that happens to the console's workflow the moment you press one of those buttons.
The Two Roles of a Fader
On a digital mixer like the Yamaha TF5, the long faders are "multi-purpose." They act as a physical interface for two completely different tasks:
Normal Mode (Mixing for the Audience): This is the default. The faders control how much of each channel goes to the Stereo (House) Speakers.
Sends on Fader Mode (Mixing for the Band): When you press an AUX or FX button, you are "flipping" the faders. Now, those same faders no longer affect the House Speakers; they are used to send a specific amount of volume to a Monitor or In-Ear Monitor (IEM).
Mono Auxes (Aux 1 – 8) usually for Monitors for performers
These are typically used for stage wedges (floor monitors) because most monitor speakers are mono.
Aux 1: Stage Left Monitor (Wedge)
Aux 2: Center Stage Monitor (Lead Vocal)
Aux 3: Stage Right Monitor (Wedge)
Aux 4: Drummer’s Monitor (Wedge or Sub-kick)
Aux 5 – 8: Additional monitors for backing vocalists, brass sections, or side-fills.
Stereo Auxes (Aux 9/10 – 19/20)
The TF5's stereo auxes are ideal for In-Ear Monitors (IEMs) or specialized feeds because they preserve the stereo image (panning).
Aux 9/10: In-Ear Monitor (IEM) – Lead Vocalist
Aux 11/12: In-Ear Monitor (IEM) – Guitarist/Bassist
Aux 13/14: In-Ear Monitor (IEM) – Keyboardist
Aux 15/16: Video Feed / Live Stream Mix (Allows you to create a separate mix for a broadcast that is different from the room mix).
Aux 17/18: Lobby / Green Room Speakers.
Aux 19/20: Dedicated Recording (Sent to an external recorder or a computer).
Quick Setup Tips for These Settings
| Setting | Recommendation |
| Monitor Mixes | Always set these to Pre-Fader. This prevents your main mix adjustments from messing up the performers' levels. |
| Stream / Recording Reverb or Effects | Usually set to Post-Fader. This way, when you pull a fader down in the room, it also disappears from the recording/stream. |
| Panning | Use the Stereo Auxes (9–20) if you want to pan the drums or keys for the musicians' ears to give them more "space." |
Yes, they are commonly called FX Return Faders. And you’ve correctly identified the "magic" of a digital mixer: The physical motorized faders have dual (or even triple) roles.
1. The "Dual Role" (Layering)
Because the TF5 is a "compact" board for the number of channels it handles, it doesn't have a separate physical fader for every single thing. Instead, it uses Layers:
Role A (Input Mode): When the Bank button is set to [17–32], Fader #31 might be a "Guitar" and Fader #32 might be a "Keyboard."
Role B (FX Return Mode): When you press the [33–40 / ST / FX] Bank button, those exact same physical faders (#31 and #32) physically slide to a new position. They are now your FX1 Return and FX2 Return.
2. Why are they called "Returns"?
In the audio world, we use this terminology because of the "loop" the sound takes:
Send: You "send" the dry vocal out of the channel to the Reverb engine.
Return: The "wet" (echoey) sound "returns" to the mixer through these specific FX Return Faders so you can mix it back in with the rest of the band.
3. How to tell which "Role" the fader is in?
Since the faders look identical, the TF5 gives you two clear visual cues:
The Scribble Strip: The tiny digital screen above the fader will change its text from a channel name (like "Vocals") to "FX1 RTN".
The Color: On Yamaha boards, Input channels are usually Cyan/Blue, but FX Returns are almost always Purple. If that strip turns purple, you know you are controlling the reverb volume.
Summary of the Workflow
When you want to adjust the reverb for the audience:
Move your hand to the Right Side (Bank section).
Tap the [33–40 / ST / FX] button.
Adjust the Purple Faders on the right.
Switch back to [1–16] or [17–32] to go back to controlling your microphones.
It’s like having two different mixers sitting in the same physical space—you just "toggle" between them with those Bank buttons. Do you feel more confident now about which "layer" you are looking at when you are at the board?
Simply turn on or unmute the FX buttons can immediately get the reverb effects since they are already pre set?
Here are the 4 Simple Steps sending REVERB to AUDIENCE (HOUSE SPEAKERS):
Step 1: Enter Effects Mode
Press the [FX 1] or [FX 2] button in the SENDS ON FADER section.
What happens: The fader lights turn Purple. The faders "detach" from the Channel volume and now Flip over to control how much "Wetness" (reverb) each Channel sent to the Reverb Engine.
Step 2: Set Individual Wetness
Adjust each Individual Channel Faders (Vocal, AG, EG, KB, Cajon etc.) to the desired level of reverb (desired amount of wetness) for each vocalists and instruments.
Example: You might push AG fader higher than the Cajon fader if AG needs more "echo."
Step 3: Turn on the "Global" Feed
Push up the Red Master Fader (The main Stereo Volume Fader (33)) on the far right.
Why: This sends the combined signals of all those purple faders (Vocal, AG, EG, KB etc) into the reverb engine. Because your FX Return faders (the purple ones on the main strip, the Channel Faders) are already up, the Audience hears the reverb immediately at this step.
Step 4: Flip Back to Normal
Deactivate the [FX 1] or [FX 2] button in the SENDS ON FADER section.
What happens: The lights go off. The faders physically snap back to their original positions to control the Volume of the mics for the audience. The reverb settings you just made stay "locked" in the background
Additional Controls on the FX Section (Top Panel)
For completeness, the physical FX section on the TF5 top panel gives you direct control over the FX Return channel without needing the touchscreen :
| Control | Function |
|---|---|
| [EDIT] key | Displays the FX edit screen on the touchscreen |
| [CUE] key | Monitors the FX return signal in headphones |
| LED meters | Show the FX output level |
| [ON] key | Turns the FX Return channel on/off (essential for sound to reach the audience!) |
| [LEVEL] knob | Adjusts the overall FX output level (alternative to the master fader in SENDS ON FADER mode) |
2. Setting this up requires a "two-step" process. Think of it like this: FX1 is the "source" of the reverb. You first have to turn it on for the house, and then you "copy" it over to the monitors.
Here is the exact sequence on your TF5:
Step 1: Send Reverb to the House (The Audience)
Press the [FX1] button in the "Sends on Fader" section (it will flash).
Raise the faders for the channels you want reverb on (e.g., the Vocalist’s, AG, KB channel).
Press the [FX1] button again to exit that mode.
Find the FX RTN (Return) fader (on the right side of the desk). Push this fader up. Now the audience can hear the reverb.
Step 2: Send that same Reverb to the Monitors (The Band)
Now that the reverb exists, you need to "feed" it into the performers' mix:
Press the [AUX] button for the performer you want to help (e.g., [AUX 1] for the Stage Left monitor).
The faders flip. Now, look for that same FX RTN fader you used in Step 1.
Raise the FX RTN fader. You are now sending the "wet" reverb signal into that performer's monitor.
Press [AUX 1] again to exit
Faders Triple Roles
You now understand how 32 physical faders can actually control over 100 different volume levels.
To recap your "Mental Map" for when you are standing at the TF5:
Channel Fader (The Default): You are mixing for the Audience. The fader moves the "Dry" sound of the instrument.
Sends on Fader (The "Monitor" Mode): You press an AUX button. The fader now controls how much of that instrument is being sent to a Performer's speaker.
FX Return Fader (The "Reverb" Layer): You press the 33-40/ST/FX bank button. The faders now control the Total Volume of the Reverb itself.
The "Golden Tip" for your "Group 1" Sessions:
If you ever get "lost" and the faders aren't doing what you expect, just look at the Right Side of the board:
If an AUX button is flashing: You are in Role 2 (Sends on Fader).
If no AUX button is flashing: You are in Role 1 or 3 (depending on which Bank button you pressed).
Actually, if we are being technically precise, you've just discovered that a digital fader is even more powerful than we first thought. On the Yamaha TF5, you can think of it as having Four Main Roles, plus a "Super Role" called the DCA.
Here is the updated "Quad-Role" map for your faders:
The 4-5 Roles (Multiple Roles) of a TF5 Fader and their LED color codes
| Role | Name | When is it active? | What does it do? |
| 1 | Input Fader | Banks [1-16] or [17-32] are selected. | Controls the volume of a mic/instrument for the House. [Audience] |
| 2 | Sends on Fader | An AUX button on the right is flashing. | Controls how much of a channel goes to a Monitor. [Stage Performers] |
| 3 | FX Return Fader | Fader Bank [33-40/ST/FX] is selected. | Controls the volume of the Reverb itself. {Audience House Speakers and Stage Monitors] |
| 4 | Master Output | Fader Bank [AUX/MATRIX] is selected. DCA Role | Controls the Total Volume of a monitor mix (e.g., the whole Stage Left mix). |
Wait, there's a 5th: The "DCA" Role
If you want to get really advanced (the "Pro Mode"), there is a fifth button in that Fader Bank Section labeled [DCA].
The "Group" Role: When you press this, a single fader can control a whole group of other faders.
Example: You can assign all 4 vocalists in your group to DCA 1. Now, one fader moves all four voices up or down at the same time while keeping their relative balance perfect.
How to keep your sanity while mixing:
It sounds like a lot to remember, but the TF5 is designed to be "visual." Just keep your eye on two things:
The Scribble Strip (The tiny screen above the fader): It will always tell you what that fader is currently doing (e.g., "Ch 1", "Aux 1", or "FX1 RTN").
The Color: * Blue/Cyan: Standard Input (Roles 1 & 2).
Purple: Reverb/FX (Role 3).
Green: Master Aux/Monitor Output (Role 4).
Yamaha TF5 Fader Color Identification for their different roles
| Mode / Bank Button | Fader Glow Color | What you are controlling |
| Normal Channels Volume | Mixed (Pink/Orange/Green, etc) | Audience Volume for individual Mics, Keys, and Cajon. |
| [AUX 1] to [AUX 20] AUX RETURN | All 32 Faders LED Indicators turn to Light Blue | Monitor Volume for that specific performer’s mix. |
| [FX 1] or [FX 2] FX REURN | All 32 Faders LED Indicators turn to Purple | "Wetness" (Amount of signal sent into the reverb engine). |
| [DCA Return] Groupings | All Green (Faders 1–8) | Group Volume (e.g., one fader for all vocalists). |
| [Fader Bank Return] | Mixed (Purple / Blue / Red) | The "Master Returns" (See breakdown below). |
Inside the [OUTPUT] Bank (The Results)
When you press that bottom button, the faders switch to their "Master" roles. This is where you see multiple colors at once:
Purple Faders (FX RTN): These are the "volume knobs" for the reverb. Even if the engine is ON, these must be up for the audience to hear the effect.
Blue Faders (AUX Master): These are the "Global Volume" for the monitors. If Aileen says her whole monitor is too soft, you push the Blue fader for her AUX.
Red Fader (ST Master): This is the "Grand Master" for the house speakers.
Why the "Output" bank is different:
Unlike the AUX or FX modes where all 32 channels turn one color to show you a "Send" level, the OUTPUT bank is a "Dashboard." It puts all your different masters in one place so you can see the overall health of your mix.
Does this table cover everything you need for your standard operating procedure?
The Fader Bank Section is essentially the "Page Navigator" of your digital mixer.
On a traditional analog mixer, if you have 40 channels, the board has to be very long to fit 40 physical faders. On a digital mixer like the TF5, the board is compact because the faders can switch "layers." The Fader Bank Section is the set of buttons that tells the faders which "layer" or "page" to display.
1. Where is it located?
In your second image (image_168b2f.jpg), look at the silver panel on the far right side. Above the "Sends on Fader" buttons (Auxes), there is a vertical cluster of buttons. This is the Fader Bank Section.
2. What are the Buttons?
There are usually 5 main buttons in this section:
[1–16]: Displays your first 16 microphone/instrument inputs.
[17–32]: Displays the next 16 inputs.
[33–40 / ST / FX]: This is the "Utility" layer. It shows your last few inputs, the Stereo Inputs (like a laptop or iPad), and your FX Return Faders (the reverb).
[AUX / MATRIX]: Displays the Master output levels for your monitors.
[DCA]: Displays "Group" faders (where one fader might control all the drums at once).
3. What is their function?
The Fader Bank Section performs three critical tasks:
Layer Switching: It allows you to control 40+ channels using only 32 physical faders. It’s like switching between "Tabs" in a web browser.
Physical Movement: When you press a different Bank button, you will see the motorized faders physically "jump" to their stored positions for that specific layer.
Color/Label Updates: It updates the "Scribble Strip" (the tiny screens above the faders) to show you the new names and colors (e.g., changing from a blue "Vocal" channel to a purple "Reverb" channel).
Why this matters for you:
When you are teaching a music class or leading "Group 1":
If you need to adjust the Guitar, you stay in the [1–16] bank.
If you need to adjust the overall Reverb level, you must tap the [33–40 / ST / FX] bank button to "find" those purple FX Return faders.
Think of the Fader Bank Section as the "Home Screen" buttons on a smartphone. They don't change the sound themselves; they just decide which "app" or "instrument" is currently sitting under your fingers.
DCA stands for Digital Controlled Amplifier.
Think of a DCA as a "Remote Control" for a group of faders. It doesn’t actually carry any audio itself; it just tells a group of other faders to move up or down together.
The Best Way to Visualize It
Imagine you have 4 singers in your group. You have their individual volumes balanced perfectly, but then the band gets louder, and you need all 4 singers to be louder too.
Without a DCA: You have to move 4 different faders and try to keep them in the same relative positions.
With a DCA: You assign all 4 singers to DCA 1. Now, when you move the DCA 1 fader, all 4 singers get louder or softer at once, perfectly keeping their balance.
How is it different from a "Group" or "Bus"?
This is a common point of confusion, so here is the key difference:
An AUX/Bus: Actually gathers all the sounds together into one "pipe" (like sending them to a monitor).
A DCA: Is just a "Team Captain." When the Captain moves, the whole team follows. If you pull the DCA fader to zero, you aren't "turning off" the sound; you are just telling those 4 faders to be silent.
Why use a DCA for your sessions?
Since you are coaching and managing "Group 1," using DCAs can save you a lot of stress:
The Vocal DCA: Put all microphones on one DCA.
The Band DCA: Put the guitar, keyboards, and cajon on another DCA.
The Result: Instead of managing 12 or 16 faders during a song, you only have to worry about 2 faders (Vocals vs. Band).
How to find them on your TF5:
Go to the Fader Bank Section on the right.
Press the bottom button labeled [DCA].
The faders will move, and you will see "DCA 1," "DCA 2," etc., on the scribble strips.
Why have 2 FX engines
Having two dedicated FX engines (FX1 and FX2) is standard practice on professional mixers like the TF5 because different instruments and voices need different "spaces" to sound good.
If you only had one FX engine, every single instrument would have to use the exact same echo, which usually sounds muddy and cluttered.
Here are the two main reasons why having two FX engines is a game-changer for your sessions:
1. You can use two different types of effects at the same time
The most common way to set this up is to use FX1 for Reverb and FX2 for Delay (Echo):
FX1 (Reverb - The "Space"): You set this to a "Hall" or "Plate" setting. It adds warmth and makes vocals sound smooth and professional, like they are in a nice acoustic room.
FX2 (Delay - The "Echo"): You set this to a "Tempo Delay" (using that TAP key we talked about!). This is used to create distinct, rhythmic echoes on the vocalist's voice during a ballad or a guitar solo.
By having both, you can give a singer a nice, warm background reverb and add a rhythmic echo to their voice at the exact same time.
2. You can separate Vocals from Instruments
Instruments and vocals rarely sound good using the same style of reverb:
For Vocals (FX1): You might want a lush, long reverb (like a Hall) so the vocals sound grand and float nicely over the music.
For Instruments (FX2): If you put a huge, long reverb on a Cajon or an acoustic guitar, the low-end frequencies will turn into a boomy, muddy mess. Instead, you can set FX2 to a tight "Room" or "Plate" setting. This gives the guitar and percussion some depth and life without washing out the rhythm.
How to think of them:
Think of FX1 and FX2 as two different rooms in a house:
You can send your singers into the big, echoing Cathedral (FX1).
You can send your acoustic instruments into the tight, woody Studio Room (FX2)
Because they are separate, you have absolute control over the "acoustic space" of your band!
Here is the most accurate way to visualize how the faders map to your description on a TF5:
The specific technique recommended by Yamaha for the TF Series is to set the HPF while listening in real-time to find the sweet spot for your specific microphone and singer .
🎛️ The Real-Time Setting Method
Since your TF5 has an adjustable HPF, you can follow this process to find the best setting :
Activate & Listen: Turn on the HPF for the channel. Have the singer speak or sing into the mic at performance level while you listen.
Raise the Frequency: Slowly turn the HPF frequency up. As you increase it, you are cutting out more low-end rumble (like handling noise, air conditioning, or stage rumble) .
Identify the Change: Keep raising the frequency until you hear the person's voice start to sound noticeably "thin" or lacking in body.
Dial it Back: Once you hear that unpleasant thinning effect, turn the frequency down just a little until the voice sounds full and natural again.
🎤 Suggested Starting Frequencies
How to Access HPF on the TF5
Once you have applied the listening technique above, here is how you physically control the HPF on your console:
Select the Channel: Press the
[SEL]button on the channel strip for the mic you are adjusting.Go to the EQ Section: Look at the touchscreen. The HPF control is located at the top of the EQ section of the SELECTED CHANNEL VIEW .
Turn it On: Tap the
HPFbutton on the screen so it is highlighted.Adjust: Drag the HPF handle (the circle/tab) on the EQ graph up or down to change the frequency . You will see the frequency value change on the screen as you drag.
The best approach is to start with a suggested frequency, listen to the sound, and then adjust to suit the specific acoustics of your venue and the unique tone of the instrument
To give you precise control on your Yamaha TF5, here is the table with specific frequency numbers (Hz) and gain suggestions (dB).
On the TF5, for "Boost" aim for +3 to +6 dB. For "Cut", aim for -3 to -6 dB.
TF5 Precision EQ Settings
| Source | HPF | Low (Gain) | Low-Mid (Gain) | High-Mid (Gain) | High (Gain) |
| Male Vocal | 90Hz | 100Hz (0) | 350Hz (-4dB) | 3.0kHz (+3dB) | 10kHz (+2dB) |
| Female Vocal | 110Hz | 150Hz$ ($0$) | 450Hz (-4dB) | 3.5kHz (+4dB) | 12kHz (+3dB) |
| Cajon (Bass) | 40Hz | 80Hz (+5dB) | 300Hz (-6dB) | 2.5kHz (+2dB) | 8kHz (0) |
| Cajon (Slap) | 150Hz | 200Hz (0) | 500Hz (0) | 4.5kHz (+5dB) | 10kHz (+3dB) |
| BG (Bass Gtr) | 40Hz | 70Hz (+4dB) | 400Hz (-3dB) | 2.0kHz (+3dB) | 5kHz (0) |
| EG (Elec Gtr) | 100Hz | 150Hz (0) | 400Hz (-4dB) | 3.0kHz (+3dB) | 6kHz (0) |
| AG (Acous Gtr) | 120Hz | 180Hz (0) | 350Hz (-5dB) | 4.0kHz (+3dB) | 10kHz (+4dB) |
| KB (Keyboard) | 80Hz | 100Hz (0) | 400Hz (-2dB) | 2.5kHz (0) | 12kHz (+2dB) |
| Synth | 60Hz | 90Hz (+3dB) | 500Hz (0) | 3.0kHz (+2dB) | 10kHz (+3dB) |
How to apply these on your TF5 screen:
HPF: Tap the HPF button on the screen and use the Touch & Turn knob to reach the number in the second column.
The "Cut" (Negative Numbers): In the Low-Mid column, notice most are negative (-4dB). This is the "secret sauce" for your mix. By cutting these, you remove the "muddiness" so your students' voices sound much clearer.
The "Boost" (Positive Numbers): These are your "Definition" points. For the Cajon Slap, that $+5dB$ at $4.5kHz$ will make the "crack" of the snare wires pop out.
Q-Factor (Width): On the TF5, keep your "Q" (width) around 1.0 to 1.5 for boosts, and a bit wider (0.7 to 1.0) for cuts.
Quick Tip for the Cajon Bass:
That -6dB at 300Hz is the most important setting in this whole table. It changes the sound from a "cardboard box" to a professional "kick drum" sound.
