Have a client who has CL's at their main spaces. Just opened up a pre-production space for them that needed desks for rehearsals. They wanted TF's for that
Yamaha consistency when they move between their preproduction spaces and their performance spaces. Tried talking them out of it but now that they have 2 TF1's and a TF5, they're trying to dump those things as quickly as possible. They....uhhhhh....get the job done, but geez is it pain trying to figure out what the
console is actually doing.
Fun fact I discovered during
system commissioning -- for whatever reason if you run
pink noise through the Oscillator, all outputs are equal
gain. If you actually run signal through the
console, the aux busses are knocked down by 6dB or so for no obvious reason. Normally most people wouldn't notice this if they're using auxes for monitors, but in this case we're using them for delays to the main
system because of they mix their rehearsal spaces with
Qlab and some speakers outputting vocals/music/FX and others only music/FX without vocals. The 6dB is very noticeable and I had to compensate for it in the
DSP.
Also had a lot of trouble with the Dante cards because we have the Dante patched through Dante Controller into the
DSP. There seems to be no place in the
console where you can see if an output is patched to a Tio or to a third-party device. We were able to get some more information out of the
console using StageMix than you can see directly in the
console, but they're just supremely half-assed consoles by
Yamaha to try and avoid losing entry-level market share to A&H and Behringer. Also one wrong
DIP switch on the Tio and it would reassert its patch to the
console and wipe out our
DSP patch. At least that issue was solvable by playing with the DIP switches.