Yamaha QL5 Digital Mixer
Yamaha·Model QL5·yamaha-ql5
Photos
Manufacturer product photography — the drawn faceplate above stays true to panel layout; these show the hardware itself.
About the Yamaha QL5
The Yamaha QL5 is the larger of Yamaha's QL-series digital consoles, a long-running staple of touring and theater rigs. It runs on the QL/CL ecosystem with DanteThe most common audio-over-network standard: dozens of channels of uncompressed digital audio down one ordinary Ethernet cable between Dante boxes. built-in, and pairs naturally with Yamaha Rio and Tio stage boxesThe I/O endpoint on stage: mics plug in there and one digital line (AES50, Dante) carries everything to the console. The snake, digitized.. A common front-of-houseFront Of House — the main mix the audience hears, and the console position out in the room where it gets mixed. console for mid-size and large productions.
The QL5 is Yamaha's larger QL-series console, and it lives at front-of-houseFront Of House — the main mix the audience hears, and the console position out in the room where it gets mixed. — not in a rack. It's a 64-input digital desk that anchors mid-size and large touring and theater productions, sitting squarely in the QL/CL ecosystem alongside Yamaha's Rio and Tio stage boxesThe I/O endpoint on stage: mics plug in there and one digital line (AES50, Dante) carries everything to the console. The snake, digitized.. If you're building out a DanteThe most common audio-over-network standard: dozens of channels of uncompressed digital audio down one ordinary Ethernet cable between Dante boxes.-native audio network for a touring show, a theatrical run, or a fixed installation where FOH needs serious horsepower without stepping up to the full CL series, this is the console that conversation tends to land on.
The two EtherConAn Ethernet plug inside a rugged XLR-style locking shell — tour-grade network connections that can’t be yanked loose. DanteThe most common audio-over-network standard: dozens of channels of uncompressed digital audio down one ordinary Ethernet cable between Dante boxes. ports — primary and secondary — carry 64 channels each, which means your stage boxThe I/O endpoint on stage: mics plug in there and one digital line (AES50, Dante) carries everything to the console. The snake, digitized. connectivity, monitor splitsFeeding one mic to two consoles at once (FOH + monitors, or a record rig) through a splitter — both get the identical source., and recording feeds can all live on the network with proper redundancyA second copy of anything critical — supply, computer, network path — already running so one failure can’t stop the show. in place. The eight local analog mic inputs give you a fallback or a convenient patch point for local sources at the console, and the eight Omni outputs let you drive amplifiers, delay stacks, or processing directly without requiring a separate analog output box. At 200 watts nominal draw and 627mm deep, this desk needs a real table and a real power circuit — plan your cable runs and weight distribution on the FOHFront Of House — the main mix the audience hears, and the console position out in the room where it gets mixed. riser accordingly at load-in.
If you're running a mid-size touring rig or a theater house where Yamaha gear is already in the ecosystem, the QL5 is a proven fit and operators will hit the ground running. If your show is smaller and 64 inputs is more console than your riderThe document attached to a booking that lists what the band needs — inputs, monitors, power, backline (and the green-room snacks). requires, the QL1 covers the same ecosystem at a lower channel count and price point. If you're building a pure IEMIn-Ear Monitor — earpieces that replace floor wedges, feeding each player their own mix. The reason this whole rack exists. or monitor rig and need a console to live in a rack rather than on a tabletop, this isn't the tool — look at a rack-mounted DSPDigital Signal Processing — the number-crunching that does EQ, compression, and effects inside a box. More DSP means more processing at once. or a smaller dedicated monitor desk instead.
In the rack
- Use the DanteThe most common audio-over-network standard: dozens of channels of uncompressed digital audio down one ordinary Ethernet cable between Dante boxes. Secondary port as a live redundantA second copy of anything critical — supply, computer, network path — already running so one failure can’t stop the show. mirror of your Primary network — if a switch goes down mid-show, the console fails over without a dropoutA brief audio gap when the radio link fails — the thing diversity, distros, and coordination all exist to prevent., and that insurance is worth the extra cable run every time.
- The eight Omni outputs are fully assignable, so map your main LR, subs, and nearest delay to them at patch time — it keeps your analog output story clean without needing an additional breakoutA cable that splits one multichannel connector (like a DB25) into individual plugs — the octopus that turns 8 channels into 8 XLRs. box at a straightforward FOHFront Of House — the main mix the audience hears, and the console position out in the room where it gets mixed. position.
- At 24 kg and 627mm deep, confirm your FOHFront Of House — the main mix the audience hears, and the console position out in the room where it gets mixed. riser or table depth before the truck unloads — a shallow folding table is a liability with this console on it.
- Keep the control Ethernet port on its own isolated VLANVirtual LAN — slicing one physical switch into separate isolated networks, like keeping Dante away from lighting and guest WiFi. away from the DanteThe most common audio-over-network standard: dozens of channels of uncompressed digital audio down one ordinary Ethernet cable between Dante boxes. network — mixing control traffic with audio traffic on the same segment is a troubleshooting headache you don't want at show time.
64-input Yamaha QL flagship — sits FOHFront Of House — the main mix the audience hears, and the console position out in the room where it gets mixed., not rack-mounted.
I/O Ports (22)
| Port | Connector | Direction | Signal | Channels |
|---|---|---|---|---|
| Dante Primary | ETHERCON | bidirectional | digital audio | 64 |
| Dante Secondary | ETHERCON | bidirectional | digital audio | 64 |
| AES3 In | AES3 XLR | input | digital audio | — |
| AES3 Out | AES3 XLR | output | digital audio | — |
| Local Mic In 1 | XLR FEMALE | input | analog audio | — |
| Local Mic In 2 | XLR FEMALE | input | analog audio | — |
| Local Mic In 3 | XLR FEMALE | input | analog audio | — |
| Local Mic In 4 | XLR FEMALE | input | analog audio | — |
| Local Mic In 5 | XLR FEMALE | input | analog audio | — |
| Local Mic In 6 | XLR FEMALE | input | analog audio | — |
| Local Mic In 7 | XLR FEMALE | input | analog audio | — |
| Local Mic In 8 | XLR FEMALE | input | analog audio | — |
| Omni Out 1 | XLR MALE | output | analog audio | — |
| Omni Out 2 | XLR MALE | output | analog audio | — |
| Omni Out 3 | XLR MALE | output | analog audio | — |
| Omni Out 4 | XLR MALE | output | analog audio | — |
| Omni Out 5 | XLR MALE | output | analog audio | — |
| Omni Out 6 | XLR MALE | output | analog audio | — |
| Omni Out 7 | XLR MALE | output | analog audio | — |
| Omni Out 8 | XLR MALE | output | analog audio | — |
| Ethernet (control) | RJ45 | bidirectional | data | — |
- Power (IEC) (IEC C14)
Deciding between two?
Rack space, watts, weight and every connector, side by side.
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