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Yamaha N8 N12

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Comments to date: 7. Page 1 of 1. Average Rating:
HenryHong 8:32pm on Tuesday, October 19th, 2010 
I tried to like my N8 so much but the last straw is when I had to call someone urgently for ambulance. My N8 took its time to respond to my pressing.
charlyt 1:31am on Wednesday, September 8th, 2010 
Nokia N8 …? Good camera, good style, although cheap plastic. Speakers less than average!! Antenna, very unstable when making a call.
LOLmailroom 9:33pm on Saturday, August 28th, 2010 
i rate it high the future is here i hope in aust tis not that much and its with telstra the bad news it may not be finally, once the N8 comes out, i can then retire my aging yet still trusty N82. hardware untested software in the real world
kiymik 2:49pm on Friday, August 27th, 2010 
Bought mine in June 10. But after upgraded to Froyo version, overheating and rebooting occurred. Sent to Service Centre for repair in Singapore.
yoga 5:27pm on Thursday, July 8th, 2010 
I am the biggest phone freak you could possibly know. Been through iPhone, Android, and recently got my Samsung WP7 Focus, which I love.
john_timmy 12:28am on Sunday, May 2nd, 2010 
I got the Otterbox case which is great protection - beyond overkill -especially since I also got accident insurance.
lou39a 9:52am on Monday, April 19th, 2010 
What sold me about the phone right away is the 12px camera and HD video. Nokia always had a great internal speaker for amazing sound quality.

Comments posted on www.ps2netdrivers.net are solely the views and opinions of the people posting them and do not necessarily reflect the views or opinions of us.

 

Documents

doc0

Owner's Manual Bedienungsanleitung Mode d'emploi Manual de instrucciones

EN DE FR ES

Espaol

Franais

Deutsch

English

Explanation of Graphical Symbols

CAUTION

RISK OF ELECTRIC SHOCK DO NOT OPEN
The lightning ash with arrowhead symbol within an equilateral triangle is intended to alert the user to the presence of uninsulated dangerous voltage within the products enclosure that may be of sufcient magnitude to constitute a risk of electric shock to persons. The exclamation point within an equilateral triangle is intended to alert the user to the presence of important operating and maintenance (servicing) instructions in the literature accompanying the product.
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK, DO NOT REMOVE COVER (OR BACK). NO USER-SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED SERVICE PERSONNEL.
The above warning is located on the rear of the unit.
IMPORTANT SAFETY INSTRUCTIONS
Read these instructions. Keep these instructions. Heed all warnings. Follow all instructions. Do not use this apparatus near water. Clean only with dry cloth. Do not block any ventilation openings. Install in accordance with the manufacturers instructions. Do not install near any heat sources such as radiators, heat registers, stoves, or other apparatus (including ampliers) that produce heat. Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two blades with one wider than the other. A grounding type plug has two blades and a third grounding prong. The wide blade or the third prong are provided for your safety. If the provided plug does not t into your outlet, consult an electrician for replacement of the obsolete outlet. Protect the power cord from being walked on or pinched particularly at plugs, convenience receptacles, and the point where they exit from the apparatus. Only use attachments/accessories specied by the manufacturer. Use only with the cart, stand, tripod, bracket, or table specied by the manufacturer, or sold with the apparatus. When a cart is used, use caution when moving the cart/apparatus combination to avoid injury from tip-over. Unplug this apparatus during lightning storms or when unused for long periods of time. Refer all servicing to qualied service personnel. Servicing is required when the apparatus has been damaged in any way, such as power-supply cord or plug is damaged, liquid has been spilled or objects have fallen into the apparatus, the apparatus has been exposed to rain or moisture, does not operate normally, or has been dropped.

WARNING

TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK, DO NOT EXPOSE THIS APPARATUS TO RAIN OR MOISTURE.

(98-6500)

FCC INFORMATION (U.S.A.)
1. IMPORTANT NOTICE: DO NOT MODIFY THIS UNIT!
This product, when installed as indicated in the instructions contained in this manual, meets FCC requirements. Modications not expressly approved by Yamaha may void your authority, granted by the FCC, to use the product. 2. IMPORTANT: When connecting this product to accessories and/ or another product use only high quality shielded cables. Cable/s supplied with this product MUST be used. Follow all installation instructions. Failure to follow instructions could void your FCC authorization to use this product in the USA. 3. NOTE: This product has been tested and found to comply with the requirements listed in FCC Regulations, Part 15 for Class B digital devices. Compliance with these requirements provides a reasonable level of assurance that your use of this product in a residential environment will not result in harmful interference with other electronic devices. This equipment generates/uses radio frequencies and, if not installed and used according to the instructions found in the users manual, may cause interference harmful to the operation of other electronic devices. Compliance with FCC regulations does
* This applies only to products distributed by YAMAHA CORPORATION OF AMERICA.
not guarantee that interference will not occur in all installations. If this product is found to be the source of interference, which can be determined by turning the unit OFF and ON, please try to eliminate the problem by using one of the following measures: Relocate either this product or the device that is being affected by the interference. Utilize power outlets that are on different branch (circuit breaker or fuse) circuits or install AC line lter/s. In the case of radio or TV interference, relocate/reorient the antenna. If the antenna lead-in is 300 ohm ribbon lead, change the lead-in to co-axial type cable. If these corrective measures do not produce satisfactory results, please contact the local retailer authorized to distribute this type of product. If you can not locate the appropriate retailer, please contact Yamaha Corporation of America, Electronic Service Division, 6600 Orangethorpe Ave, Buena Park, CA90620 The above statements apply ONLY to those products distributed by Yamaha Corporation of America or its subsidiaries.

Welcome

Thank you for purchasing the Yamaha n8/n12 Digital Mixing Studio. The n8/n12 is a comprehensive music production system that packages a digital mixer featuring easy yet full-fledged recording/mixdown operations with the cutting-edge DAW software Cubase AI 4. Connecting a computer to the mixers IEEE 1394 port enables you to configure an ideal recording environment. Please read this Owners Manual before you start using the n8/n12 so that you can take full advantage of the mixers superlative features and enjoy trouble-free operation for years to come. Also, keep this book in a safe place for future reference.

Features

Ease of operation
Analog-like mixing interface ensures intuitive operation.

High-quality sound

Based on an examination of existing head amp circuits, a new head amp circuit has been developed to provide higher quality and superior musical characteristics.

Mixer functions

The mixer can handle up to 16 channel inputs (n12) or 12 channel inputs (n8), mixing them to stereo outputs. Each monaural input jack features an XLR jack with a phantom power supply, which enables you to connect a wide range of instruments and devices, from condenser microphones to synthesizers and other line-level instruments. Input channel 8 (n12) and Input channel 4 (n8) support Hi-Z input for direct connection of an electric guitar or bass.
Computer connection via a single IEEE 1394 cable
Connect a computer with an IEEE 1394 port to the n8/n12 using an IEEE 1394 cable to transfer audio and MIDI signals between the mixer and Steinberg Cubase or other DAW.
* In order to monitor in a surround environment, you will need a surround-capable application such as Cubase 4. The included Cubase AI 4 does not support surround.

Link with Cubase

Install Cubase AI 4 on the computer, and the n8/n12 will link to Cubase and operate together seamlessly. For example, you can record the n8/n12 input signals to Cubase as is, or mix Cubase audio tracks on the n8/n12. You can also turn on and off the monitor for the VST effects or control the transport section and tracks remotely from the n8/n12. In addition, Purchase the separately-available Cubase 4 and use it with the n8/n12 to enjoy advanced functionality such as surround.
Control Room monitoring function
The n8/n12 features a monitoring function dedicated to the Control Room (Control Room Monitor function). You can connect one (n8) or three (n12) monitoring speakers to the mixer. If a computer is connected to the n12, you can monitor the sound from Cubase or another DAW in a surround sound environment.
Newly developed compressor
The n8/n12 includes a newly developed compressor that adopts Sweet Spot Morphing technology. The mixer provides various compressor presets that represent the distillation of extensive professional engineering experience, letting you quickly and easily bring your sound to a professional standard.

Recording Basics

Techie Words? Dont Be Afraid.
Signals Level and Decibel
Assume the softest sound a human being can hear is at a level of 1, and the loudest sound a human being can endure hearing is at a level of 1,000,000. The difference expressed in these numbers is huge, and you have to use too many digits to express the level. This is very inconvenient. So, we use a term or unit called decibel (dB), defining the normal level difference between the softest and loudest sounds detectable by human hearing to be 120 dB" A decibel is a relative value based on a reference level of 0 dB. Audio devices usually treat audio as electrical signals. There are various types of decibel measurements: dBu, dBV, dBm, etc., but the most popular one is dBu, which is based on 0.775V as the reference level (0 dBu). The output level of a microphone is very low about several millivolts (60 dBu 30 dBu). On the other hand, the maximum output of a mixer can be 12 V (+24 dBu).

Balanced or Unbalanced?

Microphone: Short line-level runs: Long line-level runs:
Use balanced lines. Unbalanced lines are fine. Use balanced lines.
We are constantly surrounded by random electromagnetic radiation (noise), such as radio and TV signals as well as spurious electromagnetic noise generated by power lines, motors, electric appliances, computers, and other sources. The longer the wire, the more noise it is likely to pick up. To avoid noise, use the shortest cable possible. Anatomy of a shielded cable

hot cold

+ 20 dBu
Professional audio gear, such as a mixer or a power amplifier, features line inputs and outputs with a nominal level of +4 dBu. Keyboards and other line instruments have line inputs and outputs with a nominal level of 10 dBu. Microphone levels vary depending on the sound source. Speech is at about 30 dBu. Bird chirping is lower than 50 dBu. Closely recorded drums could reach 0 dBu. balanced

0.775 V

shield (ground)

-20 dBu

jacket unbalanced

-40 dBu

-60 dBu
Mixers can handle signals of various levels. When you connect audio devices to your mixer, be sure to match the nominal input or output level of the connected devices. Many mixer inputs feature a Gain control. Be sure to use correct input jacks that will match the output level of the connected equipment.
As shown in the illustration above, a shielded cable consists of one hot (and cold conductor) wrapped in a metal net (shield, or ground conductor). The ground functions as a barrier against noise, protecting the signal from noise that may be induced in the line.

How balanced lines work

A cable that features an XLR plug on each end is a balanced line. It consists of hot (+), cold (), and ground conductors. A device transmits an original hot (+) signal through the hot conductor and the same, but inverted, signal through the cool () conductor to the destination. The receiving device inverts the inverted signal back to normal and combines it with the original hot signal. Any noise induced in the line will be exactly the same in both conductors, and thus in phase. The trick is that the phase of one signal (through the cool () conductor) is reversed at the receiving end of the line so that the desired audio signals become in-phase, and the induced noise suddenly finds itself out of phase. The out-of-phase noise signal is effectively canceled while the audio signal is left intact.

too low

input signal

appropriate level

gain control

output signal

too high
In most cases, shielded cables are used to transfer signals between audio devices. Shielded cables are divided into two types: balanced and unbalanced. Balanced lines are very good at rejecting noise, and they are the best choice for long cable runs or for transferring very weak signals. Unbalanced cables are usually used for line-level signals.
This is why balanced lines excel at rejecting noise.

Connector Variations

Audio devices feature various types of connectors. Questions you are likely to encounter when setting up a system for the first time might include Why all these different types of connectors on the back of my mixer? and What is the difference between various types of connectors? Lets start by taking a look at the most common types of connectors.
hot (+) cold () phase inversion ground (GND)

synthesized signal

phase inversion noise canceling

XLR-type connectors

transmitter

receiver male female

How unbalanced lines work
Unbalanced connectors and cables are less expensive than balanced cables. If the level of signals to be transmitted is very high and/or the signal is not susceptible to noise, or all connections are very short, you can use unbalanced lines. Monaural phone jacks and RCA pin jacks (which are often used for consumer AV gear) are always unbalanced. On an unbalanced line, signals travel through a hot (+) conductor and a ground (GND) conductor (which is a combination of cold and ground conductors). Therefore, an unbalanced line does not feature noise canceling (unlike a balanced cable). However, the output signal level through unbalanced jacks is usually high enough that using unbalanced lines is just fine. You can also convert unbalanced signals into balanced signals using a DI (*).
An XLR-type connector, which supports balanced lines, is sturdy and less susceptible to deformation. The plug features a lock mechanism, so even if you pull the cable, it will not be disconnected. It is often used in professional environments that demand a high level of reliability. When you connect an XLR cable, the ground conductor on the XLR plug and XLR jack comes in contact first. Therefore, unlike with an RCA pin cable or phone cable, you can avoid pop noises when connecting an XLR cable. Usually, male plugs will output and female plugs will input.

Phone connectors

stereo/TRS phone plug

mono phone plug

receiver
The name phone arose simply because this configuration was first used in telephone switchboards. Phone jacks can be stereo or monaural. A stereo phone jack is also referred to as a TRS phone jack, and is set up to handle stereo signals, such as for headphones, and insert I/O signals. A stereo phone jack can also handle balanced signals. A monaural phone jack is unbalanced, and can be used to connect an electric guitar or other instruments, to an amplifier.

DI is a direct injection box that converts unbalanced signals into balanced signals. For example, if you connect an electric guitar to a mixer directly, the sound may be thin or noise may be induced. In this case, you can connect a DI between the instrument and the mixer to convert the signal into a balanced one and avoid a thin, noisy sound.

RCA pin connectors

This type of unbalanced pin jack has been widely used on home audio/video equipment for many years. The plugs are color coded according to the signals they carry. A white plug is used for the left audio channel, and a red plug is used for the right audio channel.

Inside Your Mixer

Basic Structure
The purpose of configuring an audio system around a mixer is to collect signals from all channels and mix to achieve a good balance. Here is a greatly simplified block diagram of a mixer to help you understand the signal path.

4 Channel fader

A channel fader enables you to adjust the level of the corresponding input channel signal that is going to be routed to the buses (excluding a pre-fader signal). This control is most often used during mixing.
Simplied mixer block diagram
input channel bus master section

Input channel

1 Head amp
The very first stage in any mixer through which the input signal flows. The head amp features a gain control that enables you to adjust the mixers input sensitivity to match the level of the source. You can amplify small signals, and attenuate large signals. Buses are categorized into a few types based on their purpose: stereo bus for stereo mix, AUX bus for AUX send, etc. Using the appropriate buses is one of the keys to basic mixing. The n8/n12 features the following buses: STEREO bus (L/R) AUX bus (L/R) REC bus (L/R) REVERB bus (L/R) SOLO bus (L/R)

2 Compressor/Equalizer

This stage enables you to process the input signal. A compressor attenuates the peak level of the input signal, and raises the overall signal level at the same time, to lessen the level difference and raise the sound pressure. An equalizer adjusts the tone by boosting (amplifying) or cutting (attenuating) certain frequency ranges. You can use an equalizer to change the tone to suit the acoustic environment of a particular room, or to create a new sound. An equalizer could be a high pass filter that cuts the sound below a specified frequency. Some mixers feature compressors and/or equalizers, and some do not.

Master section

6 Stereo (master) fader
The master section enables you to adjust the level of signals routed from buses. Use a stereo master fader to adjust the level of the mixers main output from the stereo buses. Depending on the design of the mixer, a fader is provided for each bus so that you can adjust the level of each bus output.

HIGH MID LOW

Be sure to leave this switch off ( ) if you do not need phantom power. When turning the switch on ( ), make sure that only condenser microphones are connected to the INPUT A jacks. Devices other than condenser microphones may be damaged if they are connected to the phantom power supply. Note, however, that the switch may be left on when you connect balanced dynamic microphones. To avoid damage to your hearing or speakers, be sure to roll off the volume level of the amplifier (or powered speakers) before turning this switch on or off. Yamaha also recommends that you turn all output controls, such as the STEREO fader and [C-R PHONES LEVEL] control to minimum settings before operating the switch.

5 [PHASE] switch

Turning this switch on ( ) inverts the phase of the signal from the input jacks. For more information on the [PHASE] switch, refer to the next page.

6 [Hi-Z] switch

If you are connecting an electric guitar or electric bass that has passive-type pickups and no built-in preamp directly to the INPUT B jack of input channel 8 (on the n12) or input channel 4 (on the n8), turn this switch on ( ).
Use an unbalanced cable when you connect an electric guitar or bass and turn the [Hi-Z] switch on. If you use a balanced cable, the mixer will not work correctly.
shelving peaking shelving

Center Frequency

10 kHz 100 Hz 10 kHz 90 Hz

Maximum Cut/Boost

18 dB 18 dB 18 dB

7 [INPUT SELECT] switch

This switch determines whether the input jack signal (A.IN) or the DAW signal (the output from Cubase or another DAW) will be routed to the input channels.

8 Compressor controls

These compressor controls enable you to operate the compressor for each monaural input channel (channels 1-4 on the n8, and channels 1-8 on the n12). The following two controls are available for each compressor: [MORPH] control and [DRIVE] control. [MORPH] control This control specifies the compressor setting. Knob positions A-E correspond to different presets. You can easily change the compressor setting by rotating the control. Knob positions between alphabetical settings will use an intermediate value taken from between two corresponding preset values. [DRIVE] control This control specifies the amount of compression. As you rotate the control clockwise, more compression is applied. The output level changes automatically as the amount of compression changes. COMP LED This LED lights up when the compressor is triggered.

9 CUBASE READY indicator

This is a built-in talkback microphone.

2 [SOLO LEVEL] control

This control adjusts the SOLO L/R bus output level. The adjustable range is from to +6 dB. The position corresponds to the nominal output level (0 dB).
This indicator lights up when the mixer is ready to be operated with Cubase 4/Cubase Studio 4/Cubase AI 4; that is, when the computer is connected to the n8/ n12 and Cubase is linked to the mixer correctly.

) MASTER LEVEL METER

n12 This meter indicates the level of the STEREO/REC/AUX bus signals, or the output level at the C-R OUT jack. To switch the meter view, use the [METER SELECT] switch (!). Depending on the setting of the [METER SELECT] switch, the meter indication will change as follows:

[METER SELECT] switch

3 [DAW TO AUX] control
This control adjusts the level of the signal routed from the DAW AUX output (n12= DAW IN 15/16, n8= DAW IN 11/12) to the AUX buses. The position corresponds to the nominal output level (0 dB).

4 [AUX LEVEL] control

Adjusts the AUX OUT signal level (page 21). The position corresponds to the nominal output level (0 dB).

Meter A

C-R OUT jacks A (L/R) STEREO bus

Meter B

C-R OUT jacks B (C/SW) REC bus

Meter C

C-R OUT jacks C (LS/RS) AUX bus
While you are using the Monitor Remote function (page 33), signals that pass through the DAW will be directly routed to the AUX bus.

5 AUX PHONES jack

This headphone connector outputs the AUX bus signal. Use this connector to send a monitor signal to the musicians. The output level at this jack can be adjusted independently of the AUX OUT jacks.
* Surround channels are indicated in parentheses. n8 This meter indicates the output level at the C-R OUT jacks.

6 [AUX PHONES] control

This control adjusts the output level at the AUX PHONES jack. The position corresponds to the nominal output level (0 dB).

! [METER SELECT] switch

7 C-R PHONES jack

5. Select Device Setup from the Devices tab to
display the device setup window.
3. Select Sample Rate from the driver icons pop-up
menu to display the sample rate dialog box. To display the pop-up menu: Right-click the driver icon. Select a desired sample rate in the sample rate field.
6. In the left column Devices, select MIDI, then
MIDI Port Setup. Then, exclude the MIDI port for remote control from the MIDI data inputs. It is important to exclude the MIDI port for remote control from the MIDI inputs. With the settings immediately after the installation, controlling the Cubase transport section from the n8/n12 will cause the transport operation history to be recorded on a Cubase MIDI track. To prevent unnecessary MIDI messages on a MIDI track, you must exclude the MIDI port for remote control from the input track options. Refer to the following screens to remove the checkmark from the All Inputs column in the mLAN MIDI In/n12 (n8) Remote row.
Verify that this is checked

Select MIDI Port Setup.

Choose [Editing] [Project & Mixer]
mLAN MIDI In/n12 (n8) Remote column
If this is not checked, the TRACK CONTROL switch of the DAW Remote Control section might not operate correctly. This setting will be remembered the next time you start up Cubase. There is no need to make the setting each time.
9. Select New Project from the File menu to create a
new project. The New Project panel opens.

Remove this checkmark.

After removing the checkmark, click OK to close the dialog box.
This setting will still be effective the next time you start up Cubase. You do not need to re-set this setting each time. Please refer to the Cubase Operation Guide for more information on setting up Cubase parameters. If you plan to remotely control Cubase from another DAW, exclude the MIDI port for n8/n12 remote control from the MIDI inputs.
7. Select [File] [Preferences] to access the

Preferences dialog box.

8. From [Editing], select [Project & Mixer], and in
the dialog box, make sure that Sync Project and Mixer Selection is checked. If this is not checked, click the check box so that a check mark appears. After you have verified this, click [OK] to close the dialog box.

SONAR 5 (with WDM/KS driver)
To remotely control your DAW from the n8/n12, make the following settings in the DAW:
Type of remote controller

Mackie Control

mLAN Audio Out 1/2 mLAN Audio Out 7/8 mLAN Audio Out 1/2 mLAN Audio Out 7/8

n8/n12 DAW

MIDI ports used for connecting the remote controller
Input Output mLAN MIDI In mLAN MIDI Out
If you are using the WDM/KS driver, only eight channels can be output from your DAW to the n8/ n12.
Using the n8/n12 along with a multimedia application
To use the n8/n12 with Windows Media Player or Quick Time Player, you must make the following settings:
1. From the Start menu, select [Settings] [Control
Panel] [Sounds and Audio Devices] The Sounds and Audio Devices dialog opens.

Surround monitoring

If your computer has software that is capable of 5.1 surround playback (such as a DVD player application), you can monitor 5.1-ch surround signals by connecting surround monitor speakers to the n12.
Panel] [Sounds and Audio Devices]. The Sounds and Audio Devices dialog opens.
2. Click the Audio tab in the dialog, then select
mLAN Audio Out as the default device in the Sound Playback column.
3. Click Advanced in the Sound Playback column to
display the Advanced Audio Properties.
4. Click the Speakers tab, then select 5.1 Sound
Click the Audio tab in the dialog, then select mLAN Audio Out as the Default device for the Sound Playback column.
Click OK to close the dialog.
5. In the software you are using, select 5.1-ch
surround as audio output. For more information on how to set up the software, refer to the owners manual or on-line help for the software application.
6. Turn on the C-R SOURCE SELECT [5.1] switch on 2. Click Apply to apply the settings, then click OK to
close the dialog. the n12 to adjust the monitoring level for the control room.
3. Turn on the C-R SOURCE SELECT [DAW] switch

English Franais Deutsch

Frequency Response (CH IN to STEREO OUT) Dynamic Range (SN ratio at the maximum level) Hum & Noise (20 Hz20 kHz) Rs = 150
Input and Output Specifications
Analog Input INPUT A (Mono) CH18 (n12) CH14 (n8) INPUT B (Mono) CH18 (n12) CH14 (n8) INSERT IN INPUT (Stereo) CH912 (n12) CH58 (n8) 2TR IN Type XLR type balanced, +48 V Phantom powered TRS phone type, balanced Input Level Nominal Level 60 dBu to +10 dBu Maximum Level +24 dBu Input Impedance 3.5 k

60 dBu to +10 dBu

+24 dBu
3.5 k (500 k @ Hi-Z = ON) 10 k 10 k 10 k 10 k
TRS phone type, unbalanced RCA pin type, unbalanced Phone type, unbalanced RCA pin type, unbalanced
0 dBu 40 dBV to 10 dBV 26 dBu to +4 dBu 10 dBV
+14 dBu +4 dBV +18 dBu +4 dBV

Analog Output ST OUT

Type TRS phone type, balanced RCA pin type, unbalanced
Output Level Nominal Level +4 dBu 10 dBV +4 dBu +4 dBu +4 dBu 4 mW + 4 mW 12 mW + 12 mW Maximum Level +18 dBu +4 dBV +18 dBu +18 dBu +18 dBu 25 mW + 25 mW 75 mW + 75 mW Input Impedance k 10 k
C-R OUT AUX OUT (Only n12) INSERT OUT C-R PHONES, AUX PHONES
TRS phone type, balanced TRS phone type, balanced TRS phone type, unbalanced TRS phone type, unbalanced

General Specifications

Faders n12 n8 Power Requirements n12 n8 Dimensions (H D W) Net Weight n12 n8 n12 n8 Operating Free-air Temperature Range Included Accessories 100 mm 11 (Non-motorized) 60 mm 7 (Non-motorized) 51 W (PA-30) 33 W (PA-20) 515 mm 368 mm 14 kg 11 kg +5 to +35 C AC power adaptor (PA-30 (n12), PA-20 (n8)) DVD-ROM (Cubase AI 4) CD-ROM (TOOLS for n) Owners Manual TOOLS for n/Cubase AI 4 Installation Guide IEEE 1394 cable

Functions

Monaural Input Channels CH18 (n12) CH14 (n8) To DIRECT OUT, REC bus, STEREO bus Analog Input MIC Preamp PHANTOM Switch PAD Switch GAIN Control PHASE Switch High Pass Filter Switch Hi-Z Switch AD Converter Analog/DAW Input INPUT SELECT Switch COMP LED MORPH Control DRIVE Control Equalizer ON Switch REVERB Control AUX Control PAN Control SOLO Switch DIRECT OUT Input Meter n12 n8 WET Switch Stereo Input Channels CH912 (n12) CH58 (n8) To DIRECT OUT, REC bus, STEREO bus Analog Input GAIN Control High Pass Filter Switch AD Converter Analog/DAW Input INPUT SELECT Switch Equalizer ON Switch REVERB Control AUX Control BAL Control SOLO Switch DIRECT OUT Input Meter n12 n8 WET Switch A.IN (analog)/DAW (IEEE1394 jack) 3 band PEQ 18 dB, MID frequency range: 100 Hz10 kHz ON/OFF Adjusts a post-fader signal after PAN Adjusts a pre-fader signal after PAN 128 resolution ON/OFF Pre-fader LED 4: OVER (red), 3 dB (amber), 14 dB (amber), 48 dB (green) Pre-fader/Post-fader Only pre-fader WET ON/OFF 30 dB variable (26 dB to +4 dB) OFF/80 Hz (12 dB/oct.) 24 bit linear, Enhanced dual-bit delta-sigma conversion A.IN (analog)/DAW (IEEE1394 jack) Lights in red when the compressor is triggered. Morphs between 5 Sweet Spot Data 0 (OFF) to band PEQ 18 dB, MID frequency range: 100 Hz10 kHz ON/OFF Adjusts a post-fader signal after PAN Adjusts a pre-fader signal after PAN 128 resolution ON/OFF Pre-fader LED 4: OVER (red), 3 dB (amber), 14 dB (amber), 48 dB (green) Only pre-fader WET ON/OFF Discrete Class-A MIC preamp (Inverted Darlington Circuitry) +48 V DC (Only for INPUT A, turn on/off every 4 channels)

25 mW (@ 8 )/75 mW (@ 40 ) 16-ch input/16-ch output 12-ch input/12-ch output 2-port input/2-port output (DAW remote control, Input/Output via MIDI IN/OUT jacks) 1 port input/1port output 12 points LED meter points LED meter 2 C-R level/Bus level HALL/ROOM/PLATE REVERB TIME, LEVEL ST MIX/HARDWARE MIX/5.1 MIX (5.1 MIX is only for n12.) Recording monitor: ON/OFF, VST effects (WET): ON/OFF Click ON/OFF, CLICK LEVEL control PREV, NEXT, REC READY switch CYCLE, Previous Maker, Add Maker, Next Marker, REW, FWD, STOP, PLAY, REC switch

TRANSPORT

Bus connections of n8/n12 and DAW
Cubase 4/Cubase Studio 4/Cubase AI 4
Extensions for Steinberg DAW needs to be installed for the input/output bus assignment to the device ports in Cubase.
Cubase Output Output Bus n12-L/R n12-5.1 Device Port n12 Monitor L n12 Monitor R n12-9/10 n12 Monitor 9/C n12 Monitor 10/LFE n12-11/12 n12 Monitor 11/Ls n12 Monitor 12/Rs n12-1 n12-2 n12-3 n12-4 n12-5 n12-6 n12-7 n12-8 n12-AUX n12 input 1 n12 input 2 n12 input 3 n12 input 4 n12 input 5 n12 input 6 n12 input 7 n12 input 8 n12 AUX L n12 AUX R n12 Input DAW TO ST-L DAW TO ST-R Input Channel 9 Input Channel 10 Input Channel 11 Input Channel 12 Input Channel 1 Input Channel 2 Input Channel 3 Input Channel 4 Input Channel 5 Input Channel 6 Input Channel 7 Input Channel 8 DAW TO AUX-L DAW TO AUX-R 5.1(L) 5.1(R) 5.1(C) 5.1(LFE) 5.1(Ls) 5.1(Rs) n12 Output CH1 Direct Out CH2 Direct Out CH3 Direct Out CH4 Direct Out CH5 Direct Out CH6 Direct Out CH7 Direct Out CH8 Direct Out CH9 Direct Out CH10 Direct Out CH11 Direct Out CH12 Direct Out REC BUS L REC BUS R STEREO BUS L STEREO BUS R Cubase Input Device Port n12 Direct Out 1 n12 Direct Out 2 n12 Direct Out 3 n12 Direct Out 4 n12 Direct Out 5 n12 Direct Out 6 n12 Direct Out 7 n12 Direct Out 8 n12 Direct Out 9 n12 Direct Out 10 n12 Direct Out 11 n12 Direct Out 12 n12 REC Bus L n12 REC Bus R n12 ST Bus L n12 ST Bus R n12-ST n12-REC n12-Dir11/12 Input Bus n12-Dir1 n12-Dir2 n12-Dir3 n12-Dir4 n12-Dir5 n12-Dir6 n12-Dir7 n12-Dir8 n12-Dir9/10
Cubase Output Output Bus n8-L/R Device Port n8 Monitor L n8 Monitor R n8-5/6 n8 input 5 n8 input 6 n8-7/8 n8 input 7 n8 input 8 n8-1 n8-2 n8-3 n8-4 n8-AUX n8 input 1 n8 input 2 n8 input 3 n8 input 4 n8 AUX L n8 AUX R
n8 Input DAW TO ST-L DAW TO ST-R Input Channel 5 Input Channel 6 Input Channel 7 Input Channel 8 Input Channel 1 Input Channel 2 Input Channel 3 Input Channel 4 DAW TO AUX-L DAW TO AUX-R
n8 Output CH1 Direct Out CH2 Direct Out CH3 Direct Out CH4 Direct Out CH5 Direct Out CH6 Direct Out CH7 Direct Out CH8 Direct Out REC BUS L REC BUS R STEREO BUS L STEREO BUS R

INPUT SELECT HPF 3Band EQ DIRECT OUT [9-12] STEREO STEREO R
MORPH DRIVE LOW GAIN MID FREQ. MID GAIN HIGH GAIN INPUT METER OVER n12 PRE -14 POST -48 n8 Fixed Attenuation -12dB -3
DIRECT OUT [1-8] CH Fader ON

SOLO L SOLO R

LOW GAIN

MID FREQ.

MID GAIN
80 3Band EQ PFL SOLO DAW DAW IN [4] / [6]

INPUT METER OVER

[+4dBu]

HIGH GAIN

-14 POST -48
DAW L DAW R DAW AUX L DAW AUX R

(2TR L, 2TR R)

DAW IN [3] (n12 : To INPUT CH[9] n8 : To INPUT CH[5]) DAW IN [4] (n12 : To INPUT CH[10] n8 : To INPUT CH[6]) DAW IN [5] (n12 : To INPUT CH[11] n8 : To INPUT CH[7]) DAW IN [6] (n12 : To INPUT CH[12] n8 : To INPUT CH[8])

(DAW L, DAW R)

C - R SPEAKER SELECT
DAW IN [1] DAW IN [2] 5.1 (L)
ATT ATT ATT ATT ATT : -3dB

5.1 (L) 5.1 (R)

DAW DOWNMIX
(DAW DOWNMIX L, DAW DOWNMIX R)

C - R SOURCE SELECT

DAW OUT [1-16] (To DAW I/O)
MASTER LEVEL METER n8:DAW OUT [1-12]

ANALOG INPUT

(each 4ch)
MONO INPUT n12 : CH[1-8] n8 : CH[1-4]

DIRECT OUT [1-8]

n12 n8 METER SELECT

[+10dBu~-60dBu]

n12 :CH8 only n8 :CH4 only
[-60dBu~-16dBu] [-34dBu~+10dBu]
DIRECT DIRECT DIRECT DIRECT DIRECT DIRECT DIRECT DIRECT DAW DAW DAW DAW DAW DAW DAW DAW OUT OUT OUT OUT OUT OUT OUT OUT [1] [2] [3] [4] [5] [6] [7] [8]
OUT OUT OUT OUT OUT OUT OUT OUT
[1] [2] [3] [4] [5] [6] [7] [8]

INSERT I/O

PAN STEREO FADER
DIRECT OUT [9] DIRECT OUT [10] DIRECT OUT [11] DIRECT OUT [12] DAW DAW DAW DAW OUT OUT OUT OUT
A/D DAW REV SOLO LEVEL PFL SOLO STEREO L STEREO R REC R SOLO L SOLO R REC L

AD IN [1-8]

[+0dBu]
[9] [10] [11] [12] DAW OUT [13]

n8:DAW OUT [9]

DAW IN [7-14]

n8:DAW IN [7-10]

Block Diagram

DAW OUT [14]

n8:DAW OUT [10]

DAW OUT [15]

n8:DAW OUT [11]

DAW OUT [16]

n8:DAW OUT [12]

n8 Fixed to pre-fader

PAN INPUT SELECT

n8:DIRECT OUT [5-8]

ST OUT L

STEREO L D/A

ATT [+4dBu (BAL)]
STEREO INPUT n12 : CH9 / 10 & CH11 / 12 n8 : CH5 / 6 & CH7 / 8 DIRECT OUT [9-12] CH Fader BAL REC STEREO R A. IN ON 3Band EQ DAW IN [3] / [5] REV TALKBACK DAW STEREO

L (MONO)

[-10dBV (UNBAL)]

ST OUT R

[-10dBV]
[-26dBu~+4dBu] [-40dBV~-10dBV]

AUX LEVEL AUX L D/A

AUX OUT L

[+4dBu (BAL)]

n12 PRE -3

AUX OUT R

2TR L 2TR R LEVEL 2TR TO STEREO DIMMER D/A D/A AUX R D/A

2TR IN

AUX PHONES
[4mW 8ohms] [12mW 40ohms]

TO REC

C-R OUT

TALKBACK LEVEL

TO AUX TO STEREO

TALKBACK

CONTROL ROOM MUTE LEVEL 2 STEREO

(STEREO L, STEREO R)

A - L/ [5.1] L D/A
n8:C-R OUT L [+4dBu (BAL)]
REVERB TIME DIMMER CONTROL DIMMER LEVEL DAW TO STEREO

DIMMER ON OFF

DIGITAL EFFECT (REVERB)

(AUX L, AUX R)

A - L/ [5.1] R D/A 2 SOLO
(SOLO L, SOLO R) n8:C-R OUT R [+4dBu (BAL)]
DAW L DAW R DAW TO AUX LEVEL

B - L/ [5.1] C D/A DAW

B - R/ [5.1] SW D/A

C - L/ [5.1] Ls

DOWN MIX

C - R/ [5.1] Rs DAW 5.1

(DAW 5.1 L, DAW 5.1 R, DAW 5.1 C, DAW 5.1 SW, DAW 5.1 Ls, DAW 5.1 Rs)
DAW IN [3] DAW IN [4] DAW IN [5] DAW IN [6]
5.1 (C) 5.1 (LFE) 5.1 (Ls) 5.1 (Rs)
DAW DOWNMIX L DAW DOWNMIX R

LEVEL D/A D/A

[4mW 8ohms] [12mW 40ohms] n12 *IF " C-R SOURSE SELECT " is selected " 5.1 " , then C-R PHONES outputs DAW DOWNMIX L&R.
5.1 (R) 5.1 (C) 5.1 (LFE) 5.1 (Ls) 5.1 (Rs)
DAW IN [7-10] (To INPUT CH[1-4])
HPF HPF HPF HPF HPF HPF LPF AMP
DAW IN [7] DAW IN [8] DAW IN [9] DAW IN [10] DAW IN [11] DAW IN [12] DAW IN [13] DAW IN [14]
n12 : DAW IN [11] (To INPUT CH[5]) n8 : DAW AUX L n12 : DAW IN [12] (To INPUT CH[6]) n8 : DAW AUX R n12 : DAW IN [13] (To INPUT CH[7]) n12 : DAW IN [14] (To INPUT CH[8])

DAW 5.1 L

DAW IN [15] DAW IN [16]

DAW AUX L DAW AUX R

DAW 5.1 R DAW 5.1 C DAW 5.1 SW DAW 5.1 Ls DAW 5.1 Rs

DAW I/O n12 n8

HPF : 100Hz, -12dB/0ct LPF : 100Hz, -12dB/0ct AMP : +10dB

DAW IN [1-16]

IEEE1394

n8 : DAW IN [1-12]

2-REC , 2-REVERB , 2-AUX , 1-EFFECT , 16-IEEE1394 IN/OUT 2-REC , 2-REVERB , 2-AUX , 1-EFFECT , 12-IEEE1394 IN/OUT

DAW OUT [1-16]

n8 : DAW OUT [1-12]
MIDI Implementation Chart
YAMAHA [ DIGITAL MIXING STUDIO ] Model n8/12 MIDI Implementation Chart Date :5-Oct-2006 Version :1.0

Function.

Transmitted

Recognized

Remarks

Basic Channel Mode

Default Changed Default Messages Altered
x x x x ************** x *1

x x x x x

Note Number Velocity
: True voice Note ON Note OFF Key's Ch's

doc1

Studios that Act Analog but Think Digital
Take a good look at the n8 and n12: nothing confusing here, just the familiar layout and look of an analog console. Input controls, EQ, sends, faders, monitor controls, meters all just where youd expect them to be. So why are they called Digital Mixing Studios? Because behind the comfortable, intuitive interface lies an extraordinarily powerful digital mixer and production center that works seamlessly with an advanced version of Steinbergs CUBASE DAW running on your Macintosh or Windows PC. The n-series Digital Mixing Studios are elegantly optimized combinations of hardware and software that set up easily and let you get right down to making music with maximum quality and control, and with minimum interference from technology.

System Requirements

*The system requirements below are necessary for using the n8/n12 by connecting it to a computer, or for using the included DAW.

Windows

n8/n12 OS : XP Professional/XP Home Edition SP2 Computer : Intel Core or Pentium or Celeron family processor, 1.4 GHz or better with an S400 (400Mbps) IEEE1394 (FireWire) or i.Link terminal. Available Memory : 512 MB or more Hard Disk : Free disk space of 100 MB or more; high-speed hard disk * Windows Vista to be supported soon. CUBASE AI4 OS : XP Professional/XP Home Edition Computer : Intel Pentium 1.4 GHz or more Available Memory : 512 MB Display Resolution : 1024 x 768 pixel Audio Interface : Windows DirectX compatible Hard Disk : Free disk space of 400 MB or more; high-speed hard disk Others : DVD-ROM drive required for installation Internet connection required for license activation * For more details and the latest information, Please see http://www.yamahasynth.com

Macintosh

n8/n12 OS : Mac OS X 10.4 or higher Computer : Power Mac GGHz or Core Solo 1.5 GHz or better with an S400 (400Mbps) FireWire. Available Memory : 512 MB or more Hard Disk : Free disk space of 100 MB or more; highspeed hard disk * Macintosh Driver will be available in summer 2007. CUBASE AI4 OS : Mac OS X 10.4 or higher Computer : Power Mac GGHz or Core Solo 1.5 GHz or better Available Memory : 512 MB or more Hard Disk : Free disk space of 400 MB or more; highspeed hard disk Display Resolution : 1024 x 768 pixel Audio Interface : Core Audio compatible Others : DVD-ROM drive required for installation Internet connection required for license activation

Special Contents

Sweet Spot Data Library
Sweet Spot Data Library By famous musicians, producers and engineers. Download from http://www.yamahasynth.com/products/n8n12/ssdl/

YAMAHA Website

Computer IEEE1394

(FireWire)

n12/n8
Sweer Spot Morphing Compressor
Built-in Feel-good Factor
This elusive but essential ingredient can mean the difference between recording a memo or a masterpiece. Its not just you, or the gear you use, but a synergetic connection between the two. The Yamaha n-series Digital Mixing Studios have been created primarily to make that connection easier to achieve. Obviously the equipment wont make the music for you, but bad sound and/or complicated procedures will certainly dampen your inspiration and enthusiasm. Thats why the n8 and n12 have been designed from the ground up to make recording and mixing a creative joy rather than a technical hassle. Youll sound good, and youll be able to create the moods and textures youre after with minimum effort in short, youll feel great about the whole process so your talent can really shine. Inspiration can be unreliable, but when it strikes the Yamaha n-series Digital Mixing Studios let you capture it in all its creative glory.

Sweet Spot data Library

Download

Sweet Spot Data Manager

CUBASE 4 - Advanced Music Production System
CUBASE 4 represents the cutting edge in digital audio workstations. Designed for professionals from the ground up, CUBASE converges extraordinary sound quality, intuitive handling and a vast range of highly advanced audio and MIDI tools for composition, recording, editing and mixing.
State-of-the-art Audio + MIDI Recording/Editing/Mixing Complete new set of VST3 virtual instruments and effects Real multi-channel 5.1 surround sound SoundFrame - Universal Sound Manager Control Room integration within your outboard studio environment Seamless integration of external audio and MIDI hardware Pristine 32-bit floating point audio engine Professional music notation and score printing Cross-Platform: Windows and Mac OS X Universal Binary

Surround Monitoring and Bass Management (n12)
The n12 features three pairs of speaker outputs that can be used for full 5.1 surround monitoring: front left and right, center and subwoofer, and rear left and right. If you dont need surround capability the outputs can simply be used to switch between different stereo pairs for comparison. When the 5.1 mode is selected all three output pairs are active, with the speaker selectors functioning as temporary mute switches. Bass LS management is also implemented for optimum matching between the full-range speakers and subwoofer. A down mix switch that lets you instantly collapse the 5.1 outputs to stereo.

C L SW R

100120
* FireWire and the Firewire symbol are trademarks of Apple Computer, Inc.,registered in the U.S. and other countries. The FireWire logo is a trademark of Apple Computer, Inc. * System requirements and specifications are subject to change without notice.
For details please contact:
http://www.yamahasynth.com
12 input channels: 8 discrete class-A microphone preamps, 2 stereo line inputs. 16 in / 16 out through FireWire audio interface. 5.1 surround monitoring capability.

LCK-0702

8 input channels: 4 discrete class-A microphone preamps, 2 stereo line inputs. 12 in / 12 out FireWire audio interface.
This document is printed on chlorine-free (ECF) paper with soy ink.

Printed in Japan

Main Features

Recording

Play it Hot or Cool and Keep it That Way
The gear you use to record and produce your music must not only sound good, but it must keep your musical identity intact while allowing you to enhance and shape the sound without degrading the quality of the initial input in any way.

Processing

Enhance Your Art
Of course you can take the purist approach and simply record it like it is, but since an audio recording is a fundamentally different medium from a live performance, youll most likely want to process and mix to bring the final sound into line with your musical intentions.

Monitoring

What You Hear is What You Get
If you cant hear exactly what youre recording or mixing, it can be difficult if not impossible to achieve the intended results. The n-series consoles feature a remarkably well-equipped monitoring section that gives you broad, flexible monitor selection and control.

Operation

Analog Feel, Digital Power Under the Hood
Theres no doubt that digital audio is here to stay. In fact, current digital audio technology is capable of delivering better sound with more control flexibility and convenience than analog ever could. The trick is to integrate the power and many advantages of digital into a working environment thats familiar and comfortable for the artist. And that, coincidentally, is a perfect description of the Yamaha n-series Digital Mixing Studios.

Software Integration

Hardware and Software in Total Harmony
Although they can be used as stand-alone mixing consoles, the n8 and n12 have been specifically designed to deliver maximum creative control and production power with the bundled CUBASE AI4 software. In addition to a powerful set of software tools that expand the mixers recording and production capabilities, CUBASE AI4 features a range of MIDI sequencing capabilities, an entire suite of VST effect plug-ins, and a HALionOne sample player with a range of samples. The hardware and software components of this extraordinary production system work in seamless harmony to take you from concept to completion with intuitive ease.
Pro-level Monitoring Suite with Surround Capability
The n8 has source selectors for DAW (the stereo output from the DAW running on your computer), ST (the consoles stereo bus), AUX (the consoles auxiliary bus), and 2TR (the consoles 2-track inputs), while the n12 additionally features a 5.1 source selector for surround monitoring. The consoles surround monitoring capabilities are impressive, with bass management, down-mixing, and other features youd normally only find on high-end professional gear. You can even use the console for top-quality surround playback from pre-recorded sources such as DVDs and computer sources, giving you a chance to hear how top engineers approach surround production on your own monitor speakers. But although they provide professional capabilities, the n-series mixers make general monitoring hassle-free: simply select the signal you want to monitor and spin the big CONTROL ROOM LEVEL knob to set the ideal monitoring level. Theres more. DIMMER and MUTE functions are normally only found on large studio consoles, but youll be glad Yamaha has included them on the n8 and n12. As youd expect, the mute switch mutes or un-mutes the consoles output, while the dimmer switch reduces the output to a level that is still audible but allows conversation or phone calls. The advantage of the dimmer switch is that you can simply tap it a second time and be precisely back at optimum monitoring level without having to reset faders or level controls.
Sweet Spot Morphing Compressor
Yamahas innovative Sweet Spot Morphing Compressor produced by Ks LAB eliminates the tedious details with just two knobs that function in a totally new and ingenious way. The MORPH control has five sweet spots that offer compression crafted by some of the worlds leading musicians, engineers and producers, and by simply rotating the control you can morph seamlessly from one sweet spot to the next for an extraordinary spectrum of expressive compression. The second DRIVE knob is used to adjust the amount of compression applied. No compressor has ever made it this easy to dial up the perfect compression for such a wide range of situations.

Tight Integration Keeps You Focused and In Control
The n-series consoles and CUBASE software are so nicely integrated that most of the control youll need while recording is available right from the console. You have track selection capability as well as full transport control including record arming, cycling and marker placement/location. A monitor remote switch lets you process the input channel and record bus signals with reverb and VST effects supplied by the software, and WET switches make it simple to set up wet monitoring while recording. Theres even a remote on/off switch for the softwares click (metronome) function. Its all right at your fingertips.
Musically Tuned Class-A Discrete Mic Preamp with Inverted Darlington Circuitry Design
Yamaha has gone to extremes in the n-series mixer to create preamplifiers that will make the most of the music you feed them. In addition to a specially-tuned class-A discrete configuration that implements an inverted Darlington circuit design for exceptional musicality and low distortion, these outstanding preamplifiers employ custom-manufactured capacitors that contribute to sonic resolution you'll have to hear to believe. Bass comes through with the punch and authority it needs to support the music, smooth highs deliver a natural sense of openness and air, and outstanding midrange resolution means extraordinary musical detail. These are not average production-line preamplifiers, and you will hear the difference.
Turning on and off VST or other effects applied to the monitor signal

n8/n12

INPUT CHANNEL

off on

VST effect

AUDIO TRACK

Effective Musical EQ
Like compression, artful EQ can dramatically enhance a mix in many ways. The n-series equalizers have been created through an extensive study of the most musical and desirable consoles used by leading artists and engineers throughout the world. They offer a finely-balanced and dynamic relationship between EQ curve, frequency ranges, and other factors that give you truly musical control. 3-band equalizers with sweepable midrange on each channel deliver totally satisfying, potent EQ control that can take your music to a higher level.

One Function per Control

Another reason the n8 and n12 are eminently predictable and easy to use is that nothing is hidden below the surface. There are no layers, no multi-functions controls there isnt even an LCD display. Each and every knob, switch, and fader does exactly what it says it does, and nothing else. Stated another way, that means you always know what youre doing, and there are no surprises to delay your progress.

Dry or Wet Monitoring Control

CUBASE

It depends on the artist, but many would rather monitor themselves with effects such as the excellent VST distortion, phaser and other effects provided with the CUBASE software (otherwise known as wet monitoring). Its much easier to play with feeling if you can hear the sound of your voice or instrument pretty much as it will sound when recorded, and this is particularly important for instruments such as guitar or keyboards that are often recorded direct to the console. Setting up for wet monitoring can be tricky and tedious with standard consoles and software, but the n8 and n12 have dedicated switches that let you monitor dry or wet with the VST effects provided by the DAW software applied to any specified track. Where youd normally have to interrupt the creative flow to make the required connections and settings, the n-series mixers let you keep the music happening. Just one more n-factor that can contribute to inspired performances.
Aux Sends for Artist Monitors or External Processing
All mono and stereo channels on the n-series consoles feature auxiliary sends that work with a master auxiliary send control to provide a stereo performers monitor mix. The auxiliary sends could alternatively be used in conjunction with the consoles 2-track inputs and 2TR TO ST (2-track to stereo) level control for external signal processing.
24-bit, 96-kHz Digital Quality
What you wont see but will definitely hear is the superb audio quality delivered by the digital technology inside. 24-bit 96-kHz processing is the de-facto standard for professional audio, and thats whats happening inside the n8 and n12 chassis. The extraordinary Sweet Spot Morphing Compressors, channel equalizers, and Rev-X reverb processor are all made possible by state-of-the-art Yamaha digital technology too.

Work Mode Select

The n8/n12 enables you to select the output destination of CUBASE audio tracks using just one switch. This destination setting is called "Work mode." The n8 provides two Work mode options (ST MIX and HARDWARE MIX), and the n12 provides three Work mode options (ST MIX, HARDWARE MIX, 5.1 MIX). You can change the Work mode setting at any time as appropriate for your situation. For example, you can select ST MIX for recording, then change to HARDWARE MIX for mixdown. All WORK MODE switches turn off immediately after the mixer is connected to CUBASE. When you press one of the switches to select a desired Work mode, the corresponding output destination is selected in CUBASE, and the switch LED lights up. The following paragraphs describe each Work mode.

High-resolution Rev-X Reverb
Yamahas Rev-X digital reverb algorithm is renowned for its high resolution and extraordinarily natural sound. The n-series consoles offer this leading technology built in. You have a choice of hall, room, and plate reverb simulations with reverb time and level control. This superlative reverb processor can be used for wet monitoring while recording as well as for adding ambience during final mixdown.
Talkback with Built-in Microphone (n12)
Another n12-specific feature is a built-in talkback microphone and talkback switch with level control for efficient engineer-artist communication. When talkback is engaged the dimmer is also engaged automatically.
Advanced Integration with CUBASE
The n8 and n12 link seamlessly to CUBASE DAW software, providing extensive mixer/software synchronization that offers unmatched power and efficiency for recording and mixdown.
Some of the synchronized control capabilities are:

ST MIX HARDWARE MIX

CUBASE READY LED
Set Up for Sensational Recordings in Minutes
Project Template for n8/n12
Two templates are provided for the n8 and two for the n12, each including pre-programmed audio I/O and other settings. For production situations you can simply select a template and start recording. The Multi Channel Recording templates assign the consoles channels to the CUBASE tracks on a one-to-one basis, while the Stereo Recording template assigns the consoles REC bus signals to the appropriate CUBASE tracks.
Direct recording of input channel signals
INPUT CHANNEL INPUT CHANNEL INPUT CHANNEL INPUT CHANNEL
Mixing CUBASE tracks on the n8/n12
AUDIO TRACK AUDIO TRACK AUDIO TRACK AUDIO TRACK
CUBASE READY LED Transport Control / Track Selection / Click Remote Work Mode Selection Dry or Wet Monitoring Project Templates for the n8 and n12

Connect

Start CUBASE

Select Template for n

Select input Channel

Ready to Go!

n12/n8 Specifications
Electrical Specifications
Sample Rate Total Harmonic Distortion Frequency Response (CH IN to STEREO OUT) Dynamic Range (SN ratio at the maximum level) Internal External GAIN: Minimum fs = 48 kHz fs = 96 kHz 44.1 kHz, 48 kHz, 88.2 kHz, 96 kHz 44.1 kHz, 48 kHz, 88.2 kHz, 96 kHz (0.1 %) 0.003 % or less (1 kHz @ +18 dB, into 600 ) 20 Hz20 kHz, +1, 3 dB @ +4 dB, into Hz40 kHz, +1, 3 dB @ +4 dB, into dB, DA converter (STEREO OUT) 106 dB, AD + DA (to STEREO OUT) 128 dB, Equivalent input noise Hum & Noise (20 Hz20 kHz) Rs = dB, Residual output noise, STEREO fader: Minimum GAIN: Maximum PAD: OFF GAIN: 60 dB PAD: OFF 95 dB (99 dB SN), STEREO OUT STEREO fader: Nominal level, All channel faders: Minimum 60 dB (64 dB SN), STEREO OUT STEREO fader: Nominal level, One channel fader: Nominal level 84 dB, CH18 to STEREO OUT/C-R OUT n12 Maximum Voltage Gain ndB, CH912 to STEREO OUT/C-R OUT 76 dB, CH18 to AUX OUT 42 dB, CH912 to AUX OUT 76 dB, CH14 to STEREO OUT/C-R OUT 42 dB, CH58 to STEREO OUT/C-R OUT 86 dB, CHdB, CHdB, CHdB, CH58

n12 Crosstalk @ 1 kHz GAIN: Minimum Adjacent Input n8
Input and Output Specifications
Analog Input INPUT A (Mono) CH18 (n12) CH14 (n8) INPUT B (Mono) CH18 (n12) CH14 (n8) INSERT IN INPUT (Stereo) CH912 (n12) CH58 (n8) 2TR IN Type XLR type balanced, +48 V Phantom powered Input Level Nominal Level 60 dBu to +10 dBu Maximum Level +24 dBu Input Impedance 3.5 k
TRS phone type, balanced TRS phone type, unbalanced RCA pin type, unbalanced Phone type, unbalanced RCA pin type, unbalanced
60 dBu to +10 dBu 0 dBu 40 dBV to 10 dBV 26 dBu to +4 dBu 10 dBV
+24 dBu +14 dBu +4 dBV +18 dBu +4 dBV Output Level
3.5 k (500 k @ Hi-Z = ON) 10 k 10 k 10 k 10 k

Analog Output

Type TRS phone type, balanced RCA pin type, unbalanced TRS phone type, balanced TRS phone type, balanced TRS phone type, unbalanced TRS phone type, unbalanced
Nominal Level +4 dBu 10 dBV +4 dBu +4 dBu +4 dBu 4 mW + 4 mW 12 mW + 12 mW
Maximum Level +18 dBu +4 dBV +18 dBu +18 dBu +18 dBu 25 mW + 25 mW 75 mW + 75 mW

Nominal Impedance k 10 k

ST OUT C-R OUT AUX OUT (Only n12) INSERT OUT C-R PHONES, AUX PHONES

General Specifications

Faders n12 n8 n12 n8 n12 n8 n12 nmm 11 (Non-motorized) 60 mm 7 (Non-motorized) 51 W (PA-30) 33 W (PA-20) 515 mm 368 mm 14 kg 11 kg +5 to +35 C AC power adaptor (n12: PA-30, n8: PA-20) DVD-ROM (CUBASE AI4) CD-ROM (TOOLS for n) Owners Manual TOOLS for n/CUBASE AI4 Installation Guide IEEE1394 cable
Power Requirements Dimensions (H D W) Net Weight Operating Free-air Temperature Range

Included Accessories

n12/n8 Block Diagram

ANALOG INPUT

+48V MONO INPUT n12 : CH[1-8] n8 : CH[1-4] [+10dBu~-60dBu]
(each 4ch) MASTER LEVEL METER
DAW OUT [1-16] (To DAW I/O)

n8:DAW OUT [1-12]

INPUT A

REVERB L REVERB R

STEREO L STEREO R
n12 :CH8 only n8 :CH4 only
[-60dBu~-16dBu] [-34dBu~+10dBu]

SOLO L SOLO R

n12 METER SELECT BUS C-R

DIRECT OUT [1-8]

ON OFF

HA DIRECT OUT [1-8]

n8:DIRECT OUT [1-4]

GAIN A/D

AD IN [1-8]
n12 :CH1-7 only n8 :CH1-3 only
INPUT SELECT 80 HPF A. IN

COMP (Gain Reduction)

REC L REC R

INSERT I/O

[+0dBu]

ON COMP 3Band EQ

CH Fader
REC ON STEREO STEREO FADER

DIRECT DIRECT DIRECT DIRECT DIRECT DIRECT DIRECT DIRECT
OUT OUT OUT OUT OUT OUT OUT OUT
[1] [2] [3] [4] [5] [6] [7] [8]
DAW DAW DAW DAW DAW DAW DAW DAW

AUX L AUX R

STEREO L

ON OFF ON OFF

DIRECT OUT [9-12]
MID FREQ. LOW GAIN MID GAIN DRIVE HIGH GAIN MORPH

STEREO R

INPUT METER OVER n12 PRE -3 -14 POST -48 n8 Fixed to pre-fader

DAW IN [7-14]

n8:DAW IN [7-10]

REV SOLO LEVEL PFL SOLO

n8 Fixed Attenuation -12dB
AUX L AUX R REC L SOLO L SOLO R REC R
DIRECT OUT [9] DIRECT OUT [10] DIRECT OUT [11] DIRECT OUT [12]

DAW DAW DAW DAW

OUT OUT OUT OUT

[9] [10] [11] [12]

DAW OUT [13]

n8:DAW OUT [9]

DAW OUT [14]

n8:DAW OUT [10]

DAW OUT [15]

n8:DAW OUT [11]

DAW OUT [16]

n8:DAW OUT [12]

STEREO INPUT n12 : CH9 / 10 & CH11 / 12 n8 : CH5 / 6 & CH7 / 8
PAN INPUT SELECT 80 SUM HA A/D

ST OUT L

STEREO L D/A

ATT [+4dBu (BAL)]

n8:DIRECT OUT [5-8]

L (MONO)

[+4dBu] [-10dBV]

A. IN 3Band EQ

HIGH GAIN MID FREQ. LOW GAIN MID GAIN

HPF DAW

[-10dBV (UNBAL)]

ST OUT R

STEREO REV
[-26dBu~+4dBu] [-40dBV~-10dBV]

DAW IN [3] / [5] 80

[+4dBu (BAL)]

HPF DAW DAW IN [4] / [6]

n12 PRE

3Band EQ

INPUT METER OVER -3 -14 POST -48 n8 Fixed to pre-fader

PFL SOLO

TALKBACK AUX L

AUX LEVEL D/A

AUX OUT L

AUX ATT.

AUX OUT R
2TR L 2TR R LEVEL 2TR TO STEREO DIMMER D/A D/A CONTROL ROOM MUTE LEVEL D/A AUX R D/A

2TR IN

[-10dBV]

A/D A/D

AUX PHONES
[4mW 8ohms] [12mW 40ohms]

TO REC

C-R OUT

A - L/ [5.1] L

n8:C-R OUT L [+4dBu (BAL)]

TALKBACK

LEVEL ECM +40dB TALKBACK
REVERB TIME DIMMER CONTROL DIMMER

DIGITAL EFFECT (REVERB)

TO STEREO

STEREO

TO AUX

(STEREO L, STEREO R)

AUX LEVEL DAW TO STEREO

(AUX L, AUX R)

2 C - R SPEAKER SELECT

A - L/ [5.1] R D/A

n8:C-R OUT R [+4dBu (BAL)]

DIMMER

DAW L DAW R DAW TO AUX LEVEL DAW AUX L DAW AUX R
DAW R DAW IN [3] (n12 : To INPUT CH[9] n8 : To INPUT CH[5]) DAW IN [4] (n12 : To INPUT CH[10] n8 : To INPUT CH[6]) DAW IN [5] (n12 : To INPUT CH[11] n8 : To INPUT CH[7]) DAW IN [6] (n12 : To INPUT CH[12] n8 : To INPUT CH[8]) DAW IN [1] DAW IN [2] DAW IN [3] DAW IN [4] DAW IN [5] DAW IN [6]

(2TR L, 2TR R)

C - R SOURCE SELECT

(SOLO L, SOLO R)

B - L/ [5.1] C D/A

B - R/ [5.1] SW D/A

(DAW L, DAW R) n12

C - L/ [5.1] Ls D/A

DOWN MIX
5.1 (L) 5.1 (R) 5.1 (C) 5.1 (LFE) 5.1 (Ls) 5.1 (Rs)

2 DAW DOWNMIX

ATT ATT ATT ATT ATT : -3dB
DAW DOWNMIX L DAW DOWNMIX R
(DAW DOWNMIX L, DAW DOWNMIX R)

C - R/ [5.1] Rs 6 D/A

DAW 5.1
(DAW 5.1 L, DAW 5.1 R, DAW 5.1 C, DAW 5.1 SW, DAW 5.1 Ls, DAW 5.1 Rs)

LEVEL D/A D/A

n12 *IF " C-R SOURSE SELECT " is selected " 5.1 " , then C-R PHONES outputs DAW DOWNMIX L&R.

C-R PHONES

DAW IN [7] DAW IN [8] DAW IN [9] DAW IN [10] DAW IN [11] DAW IN [12] DAW IN [13] DAW IN [14] DAW IN [15] DAW IN [16]
DAW IN [7-10] (To INPUT CH[1-4])

BASS MANAGEMENT

n12 : DAW IN [11] (To INPUT CH[5]) n8 : DAW AUX L n12 : DAW IN [12] (To INPUT CH[6]) n8 : DAW AUX R n12 : DAW IN [13] (To INPUT CH[7]) n12 : DAW IN [14] (To INPUT CH[8]) DAW AUX L DAW AUX R

HPF HPF HPF LPF HPF AMP

DAW 5.1 L DAW 5.1 R DAW 5.1 C DAW 5.1 SW DAW 5.1 Ls DAW 5.1 Rs

HPF LPF

DAW I/O

DAW IN [1-16]

n8 : DAW IN [1-12]

IEEE1394

HPF : 100Hz, -12dB/0ct LPF : 100Hz, -12dB/0ct AMP : +10dB

n12 n8

2-REC , 2-REVERB , 2-AUX , 1-EFFECT , 16-IEEE1394 IN/OUT 2-REC , 2-REVERB , 2-AUX , 1-EFFECT , 12-IEEE1394 IN/OUT

DAW OUT [1-16]

n8 : DAW OUT [1-12]

 

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