Module 3

Technical Reference

Detailed reference for operating the TF3 console, processing settings, effects bus configuration, and DCA group management.

The TF3 is a touchscreen-based digital console. The large touchscreen on the right provides access to all channel processing, routing, and system settings. The physical faders and knobs on the left control channel levels and sends.

Channel Strip

Each channel strip has a fader, a gain knob, a mute button, and a select button. Tap the channel name on the touchscreen to open the full channel processing view.

Touchscreen Navigation

Swipe left and right on the touchscreen to scroll through channels. Tap any channel to select it. Use the tabs at the top of the screen to switch between EQ, Dynamics, Effects, and Routing views.

DCA Groups

DCA (Digital Control Association) groups allow you to control multiple channels with a single fader. There are 8 DCA groups: DRUMS, GUITARS, KEYS, VOCALS, BAND, SPEECH, MEDIA, and FX. Use VOCALS (DCA 4) and BAND (DCA 5) most frequently to balance the overall mix.

Scene Recall

All console settings are saved in a Scene. Navigate to Scene > Recall to restore the saved configuration. Always recall the scene at the start of each service.

TF Series Control Surface — key sections labelled

DCA groups are one of the most powerful tools available to the FOH operator. Rather than adjusting individual faders during a live service, DCA groups allow you to control the overall level of a group of channels with a single fader movement. The TF3 has 8 DCA groups, each assigned a colour in the TF Editor that matches the channel strip colours on the console screen.

DCA Group	Console Colour	Channels Included	Usage
DCA 1 — DRUMS	Red	CH 1–3: KICK, SNARE, HATS	Controls the overall drum level. Useful for quickly pulling the kit back in the mix without touching individual faders.
DCA 2 — GUITARS	Yellow	CH 4–6: BASS, A.GTR, E.GTR	Controls all guitar and bass channels together. Use this to balance the band against the drums and vocals.
DCA 3 — KEYS	Green	CH 7–9: KEYS.L, KEYS.R, VIOLIN	Controls keys and any melodic instrument on these slots. Adjust as a group to keep keys balanced in the mix.
DCA 4 — VOCALS	Blue	CH 10–13: VOX 1, VOX 2, VOX 3, VOX 4	Controls all worship team vocal channels. This is the primary DCA for managing vocal level during songs.
DCA 5 — BAND	Orange	All band channels (sub-group of DCA 1–4)	A master sub-group for the full band. Use this to quickly adjust the overall band level against the speech channels.
DCA 6 — SPEECH	Cyan	CH 16–18: MD, HOST, PREACH	Controls all spoken-word channels. Quickly raise or lower all speech mics together during announcements or the sermon.
DCA 7 — MEDIA	Purple	CH 14–15, 22–23: CLICK, TRAX, PHONE-L, PHONE-R	Controls all media and backing track channels. Use this to manage click track, tracks, and phone audio as a group.
DCA 8 — FX	Pink	FX1 REVERB, FX2 DELAY (returns)	Controls the return level of both effects buses. Pulling this down reduces all reverb and delay in the FOH mix simultaneously.

The TF3 has two effects buses pre-configured for Sanctuary Church. FX1 is a Reverb and FX2 is a Mono Delay. Both are assigned to the vocal channels and can be adjusted during the service.

ℹ️ How Effects Buses Work

An effects bus is a shared signal path. Each channel has a send level that controls how much of that channel's signal is sent to the effects processor. The processed signal is then returned to the mix as a separate channel. This means you can apply the same reverb or delay to multiple channels simultaneously, with independent control over how much each channel receives.

FX1 — Reverb

Adds space and warmth to vocals. Makes them sit naturally in the mix and sound polished rather than dry.

Pre-Delay20–30 ms

Decay Time1.5–2.5 s

High Frequency DampingModerate

Send Level (Vocals)−12 to −6 dB

💡 Less is more. If you can clearly hear the reverb as a separate effect, it is too much. The reverb should add a sense of space without making the vocals sound distant or washed out.

FX2 — Mono Delay

Adds depth and interest to sustained vocal phrases. Creates a sense of movement and energy, particularly on held notes.

Delay TimeSet via Tap Tempo each song

Feedback1–2 repeats only

High Frequency DampingHigh (makes repeats sound natural)

Send Level (Lead Vocal)−18 to −12 dB

💡 Always tap tempo at the start of each song. A delay that is out of time with the music will make the mix sound cluttered. Keep the feedback low — one or two repeats is usually enough. The delay should feel like a natural extension of the vocal, not an echo effect.

⚠️ Tap Tempo — Do This at the Start of Every Song

The Mono Delay (FX2) must be synchronised to the tempo of each song. At the start of each song, locate the dedicated Tap Tempo button on the TF3 and tap it in time with the beat for at least four beats. The delay time will update automatically. A delay that is out of time with the music will make the mix sound cluttered and unprofessional.

The following tutorial videos are produced by Yamaha Global and cover the TF Series in detail. They are an excellent resource for volunteers who want to build confidence with the console before operating it live. The playlist runs from an overview of the hardware through to mixing techniques, effects, MonitorMix setup, and the Tio1608-D stage rack.

ℹ️ Recommended Viewing Order

Start with videos 6–7 (Introduction and Overview), then watch 8–11 (sound tuning, input processing, MonitorMix, and processing). Videos 13–14 cover offline setup and the MonitorMix app — both highly relevant to this system. Videos 20–21 (Hints and Tips) are short and practical.