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2. 39 Mixing signals on the n8 n12 then recording 39 Recording n8 n12 input channel signals directly tO CUBASE m 41 Mixing recorded tracks HR nennen ern 43 Mixing audio tracks oins 43 MIXING AOW een 45 Monitoring in a Surround Sound Environment n12 only 46 Connecting surround speakers 46 Placement of the surround speakers 46 Setting up surround monitoring 47 Replacing the Sweet Spot Data 48 Using the n8 n12 with Software Other Than Cubase BEER BERBER EEE eee 49 Using the n8 n12 with a DAW other than Cubase 49 Using the n8 n12 along with a multimedia applicatio WEE 50 Troubleshooting LLL 51 While using the mixer oooocccconcconnccccnnorncnnnncncnnnnnnns 51 While using the mixer with a computer 51 Index KELELLLLLLLELLELLELLELLELLLLLLEELELLELLLLLLLLEEL 53 Appendix Www lI ULcZ 204 Specifications vanos 204 Bus connections of n8 n12 and DAW 207 Dimensional Diagrams i 209 Block Diagram a 210 MIDI Implementation Chart eects 211 n8 n12 Owner s Manual English Turning On and Off the Power to the Mixer Turning On and Off the Power to the Mixer Before Turning On the Power to the Mixer 1 Make sure that the mixer s power switch is in the STANDBY position
3. HPF 100Hz 12dB Oct LPF 100Hz 12dB Oct AMP 10dB A Flash Flash H fast slow on C R SPEAKER L amp R SELECT output A switch L output L mute L amp R R mute R output mute C R SPEAKER C amp SW C output C mute C amp SW SELECT output SW mute SW output mute B switch Surround downmix If necessary you can monitor the sound in stereo by mixing the surround signals into two channels during surround monitoring This is called a surround downmix To downmix the signals during surround monitoring turn on the DOWN MIX switch in the Control Room section The LS RS C and LFE channel signals will be split to L and R channels then output from the C R OUT jack A Meanwhile the level of these channel signals will be automatically adjusted so that the monitoring level will not change Press the DOWN MIX switch again to cancel the downmix and restore the surround signals TTE OO DOWNMIX L R BAN N2 o DOWNMIX R DAWINa DAWN 4 ATT r Wei DAW IN 5 ATT 3 dB attenuator 3 c gt E C R SPEAKER Ls amp Rs Ls output Ls mute Ls amp Rs SELECT output Rs mute Rs output mute C switch 4 To cancel surround monitoring use the C R SOURCE SELECT switches to select any monitor source other than 5 1 channel NOTE j During surround monitoring the C H P
4. n8 n12 5 n AUDIO TRACK gt INPUT CHANNEL emo Ge p INPUT CHANNEL e SC z ckt WEIT CHANNEL La Cubase E Mixing Cubase tracks on the P INPUT CHANNEL je n8 n12 AUDIO TRACK You can add stereo signals from Cubase audio tracks I to the mix on the n8 n12 or route each Cubase audio track to an individual input channel on the n8 n12 Cubase n8 n12 AUDIO TRACK INPUT CHANNEL AUDIO TRACK INPUT CHANNEL AUDIO TRACK INPUT CHANNEL AUDIO TRACK INPUT CHANNEL n8 n12 Owner s Manual 33 Using the n8 n12 with Cubase 4 Cubase Studio 4 Cubase Al 4 Computer setup for the Link function Follow the steps below to set up your computer so that you can use the Link function NOTE Before using the Cubase Link function you must install special drivers and software and then make initial settings For more information about installation procedures and initial settings for the dedicated software please refer to the Installation Guide 1 Start the computer When the computer is started make sure that a blue driver icon appears on screen The icon in the task tray indicates the driver status driver icon NOTE D white driver icon means that the driver is currently 4 disabled Refer to page 9 in the Installation Guide for information on how to enable the driver 2 Connect the n8 n12 to the computer using an IEEE 1394 cable then turn on the power to the mixer I
5. JL v SL V ploy 2 Make sure that the input channel ON switch indicators are lit Use the ON switch to turn each input channel on and off When the switch is turned on the switch indicator lights up and the corresponding input channel becomes active When the switch is dark press the switch to turn on the indicator SOLO 1 overO 30 30 1 40 Ss 80 js o I O El Bol 5 WET 10 Ol A Hands On Guide to the n8 n12 3 Turn on the ST switch of the input channels to which your instruments or microphones are connected Use a channel ST switch or REC switch to select the bus to which the input channel signals are sent If you turn on a channel ST switch that input channel signal will be sent to the stereo bus English NOTE Refer to page 39 for more information how things work when the REC switches are turned on 4 Adjust the volume level of the input channels to which your instruments or microphones are connected by moving the corresponding faders On the n12 if you set the Meter section s INPUT METER switch to POST you will be able to use the input meter of each channel to check the post fader signal level If the C R SOURCE SELECT ST switch in the Control Room section is turned on you can monitor the ST
6. guitar bass effects unit DI English IEEE 1394 cable monitor system computer external recorder Installing Monitor Speakers EJoHB B external effects unit control room headphones The position of the monitor speakers is very important for accurate sound monitoring Refer to the following tips before you decide on a location and position for the monitor speakers B Distance from the walls and corners To monitor the sound accurately locate the speakers far from the walls and corners As the speakers move closer to the walls or corners sound reflection from the walls will emphasize the low range reducing the quality of the speaker response Ideally keep a distance of minimum 1 5 meters from the walls If you have no other choice adjust the frequency response for the monitoring environment such as equalizing the speaker frequencies or slightly cut the low range during the mix E Distance and angle from the listening point Place L and R channel speakers so that they and the listening point will form an equilateral triangle Position the speakers so that the face of the speakers are pointing toward the listening point Keep an equal distance between the speaker
7. sese 33 CUBASE READY 17 34 D DAW Hw 14 18 DAW HOH u 21 DAW TO AUX ceecee 17 38 DAW TO ST rara 16 37 Decibel dB n 9 DIMMER ohi 18 DOWN MIX esses 18 47 DRIVE usada EG 14 bir 34 49 E Equalizer EQ 14 F FOOT SW zitat eterna 21 G GAIN iii ere rents 13 29 H HARDWARE MIX 19 38 HIGH iii 14 high pass filter 80 13 24 up 14 A iaia 21 A ione ise etos aea 20 Input channel een 11 INPUT METER 15 17 INPUT SELECT 14 Input source 41 INSERT 2 een 20 L LOW Mc 14 M MASTER LEVEL METER 17 Master section en 11 METER SELECT 17 Metronome 37 Microphone 17 18 MD rea 14 MIDI pisani 21 35 49 MIDI Implementation Chart 211 MX conil 28 43 Mixer ciare 10 Mixing down eeeeeenne 45 Monitor devices 24 MONITOR REMOTE 19 40 Monitor Speaker 23 Monitoring environment 25 MORPH cinc recia 14 MUTE sora 18 O ON Channel ON 12 15 OVER nu 15 30 P PAD Pan PFL Pre Fader Listen 16 32 PHANTOM 48V 13 24 Phase irrita 14 15 POST vaina 17
8. m wey T MIX HARDWARE MIX Dr CLICK REMOTE C BUS JAN sa fix ON os CLICK LEVEL TRANSPORT B Turning the metronome on and off Press the CLICK REMOTE ON switch to turn it on the switch LED lights up Turning the metronome on or off on the n8 n12 will also turn the Cubase metronome on or off and vice versa For example turning the Cubase metronome on will turn the CLICK REMOTE ON switch on B Adjusting the metronome volume Rotate the CLICK LEVEL knob As you turn the knob clockwise the volume of the metronome increases If you rotate this knob then change the level in Cubase the level of the n8 n12 metronome will change accordingly NOTEN If the metronome is not loud enough even after you rotate the knob fully clockwise in Cubase select Transport Metronome Setup then maximize the level of the audio click or the MIDI click velocity Selecting the Work mode 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 To select a Work mode
9. Maximum Level Input Impedance ST OUT TRS phone type balanced 4 dBu 18 dBu 600 Q RCA pin type unbalanced 10 dBV 4 dBV 10 KQ C R OUT TRS phone type balanced 4 dBu 18 dBu 600 Q AUX OUT Only n12 TRS phone type balanced 4 dBu 18 dBu 600 Q INSERT OUT TRS phone type unbalanced 4 dBu 18 dBu 10 kQ C R PHONES AUX PHONES TRS phone type unbalanced 4 mW 4 mW 25 mW 25 mW 8Q 12 mW 12 mW 75 mW 75 mW 409 n8 n12 Owner s Manual Appendix General Specifications Faders n12 100 mm x 11 Non motorized n8 60 mm x 7 Non motorized Power Requirements n12 51 W PA 30 n8 33 W PA 20 Dimensions H x D x W n12 146 x 561 x 515 mm n8 146 x 518 x 368 mm Net Weight n12 14 kg n8 11 kg Operating Free air Temperature Range 5 to 35 C Included Accessories AC power adaptor PA 30 n12 PA 20 n8 DVD ROM Cubase Al 4 CD ROM TOOLS for n Owner s Manual TOOLS for n Cubase Al 4 Installation Guide Ae IEEE 1394 cable a Functions Monaural Input Channels Analog Input i inei IC Preamp Discrete Class A MIC preamp Inverted Darlington Circuitry PHANTOM Switch 48 V DC Only for INPUT A turn on off every 4 channels e MEC DUS PAD Switch 0 26 dB c GAIN Control 44 dB variable 60 dB to 1
10. 12 Front and Rear Panels 13 Channel Control section in 13 Master Control section ii 16 Meter section ui 17 Control Room SOON ii 18 DAW Remote Control section 19 Rear I O section iasoer 20 Setting Up the Mixer 22 Setup Procedure A 22 n12 Setup Example Home recording 22 n8 Setup Example Home recording 23 Installing Monitor Speakers nennen 23 A Hands On Guide to the n8 n12 24 Let s Hear Wi i unio te un nr eene 24 Connecting sound sources and monitor oro E 24 Adjusting tegai iconos 24 Setting up the monitoring environment 25 Adjusting the volume level 26 Making Great Mixes 28 Manipulating compression eee 28 Masten Or wa 29 Panning and balancing ne 30 Mixing int Stereo vincia 30 APPIVINO FeVehlb unse 31 Solcingia channel rasa 32 Using the n8 n1 2 with Cubase 4 Cubase Studio 4 Cubase Al 4 33 What you can do using the n8 n12 with Cubase 33 Computer setup for the Link function 34 Using the Link Function i 37 Remotely controlling the Cubase transport section and audio tracks 37 Remotely adjusting the click sound Metronome ssssssssssee 37 Selecting the Work mode ee 37 Let s start our recording session
11. A Warning Use only the included power adaptor PA 30 for the n12 PA 20 for the n8 or an equivalent recommended by Yamaha Use of a different adaptor may result in equipment damage overheating or fire In such cases the product warranty will be void immediately even within the effective warranty period 2 Connect the power adaptor to the AC INPUT connector on the rear panel of the mixer then turn the fastening ring clockwise to secure the connection W ON 3 Connect the power adaptor to a standard household power outlet securely AN Caution Be sure to unplug the adaptor from the outlet when you are not using the mixer or when lightning storms are expected in your area Make sure that there is adequate distance between the power adaptor and the mixer Otherwise noise may be generated n8 n12 Owner s Manual Turning the Power On and Off 1 To turn the power on press the mixer s power switch to the ON position 2 To turn the power off press the power switch to the STANDBY position A Caution Note that a small amount of current continues to flow while the switch is in the STANDBY position If you do not plan to use the mixer for an extended period of time please be sure to unplug the adaptor from the wall outlet NOTE To prevent sudden loud sounds from being produced from your speakers power on your equipment starting at the audio source instrument mic CD player etc and working
12. Li AUDIO TRACK AUDIO TRACK NOTE D e While the Monitor Remote function is enabled the corresponding input channel ST switches will flash Turn off the Monitor Remote function to return to the previous status e Ifthe Record Enable button and monitoring button for the Cubase tracks are turned off you cannot monitor the VST effect signals In this case the MONITOR REMOTE REC BUS WET switch LED will flash Processing the signals via the VST or other effects may cause latency in the monitoring signal While the Monitor Remote function is enabled the effect signals will be directly routed to the AUX output Therefore the AUX control for the corresponding input channels will be disabled If you wish to adjust the monitoring balance between the instruments adjust the level in Cubase 9 Turn the DAW TO ST ON switch on While the Record Enable button and monitoring button are turned on the REC bus monitoring signal will be returned to the n8 n12 via the Cubase mixer When you turn the DAW TO ST ON switch on the monitoring signal returned from Cubase will be routed to the STEREO buses enabling you to monitor the signal If you wish to listen to the effect signal only in the control room turn on the C R SOURCE SELECT DAW switch to select DAW Cubase as the monitoring source E Recording 10 Press the REC switch to start recording 11 Play the instruments 12 When you finish playing t
13. YAMAHA vom une ro NG 09 90 Owner s Manual Bedienungsanleitung Mode d emploi A Manual de instrucciones CAUTION RISK OF ELECTRIC SHOCK DO NOT OPEN 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 NOohWD 10 Explanation of Graphical Symbols The lightning flash with arrowhead symbol within an equilateral triangle is intended to alert the user to the presence of uninsulated dangerous voltage within the product s enclosure that may be of sufficient 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 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 manufacturer s instructions Do not install near any heat sources such as radiators heat registers stoves or other apparatus including amplifiers that produce heat Do not defeat the safety purpose of the polarized or grounding type plug A
14. Yamaha Music Central Europe GmbH Sp ul Z 0 0 Oddzial w Polsce 17 Stycznia 56 PL 02 146 Warszawa Poland Tel 022 868 07 57 SY40 Die Einzelheiten zu Produkten sind bei Ihrer unten aufgefiihrten Niederlassung und bei Yamaha Vertragshandlern in den jeweiligen Bestimmungslandern erh ltlich Para detalles sobre productos contacte su tienda Yamaha mas cercana o el distribuidor autorizado que se lista debajo THE NETHERLANDS BELGIUM LUXEMBOURG Yamaha Music Central Europe GmbH Branch Benelux Clarissenhof 5 b 4133 AB Vianen The Netherlands Tel 0347 358 040 FRANCE Yamaha Musique France BP 70 77312 Marne la Vall e Cedex 2 France Tel 01 64 61 4000 ITALY Yamaha Musica Italia S P A Combo Division Viale Italia 88 20020 Lainate Milano Italy Tel 02 935 771 SPAIN PORTUGAL Yamaha Hazen M sica S A Ctra de la Coruna km 17 200 28230 Las Rozas Madrid Spain Tel 91 639 8888 GREECE Philippos Nakas S A The Music House 147 Skiathou Street 112 55 Athens Greece Tel 01 228 2160 SWEDEN Yamaha Scandinavia AB J A Wettergrens Gata 1 Box 30053 S 400 43 G teborg Sweden Tel 031 89 34 00 DENMARK YS Copenhagen Liaison Office Generatorvej 6A DK 2730 Herlev Denmark Tel 44 92 49 00 FINLAND F Musiikki Oy Kluuvikatu 6 P O Box 260 SF 00101 Helsinki Finland Tel 09 618511 NORWAY Norsk filial av Yamaha Scandinavia AB Grini Neringspark 1 N 1345 ster s Norway Tel 67 16 77 70 ICELAND S
15. dialog box Launch Cubase Select Start All Programs Steinberg Cubase 4 gt Cubase 4 If the Yamaha Extension dialog box is displayed while Cubase is starting click OK Yamaha Extension Do you want to select ASIO mLAN as MASTER ASIO driver M Do not Ask again While Cubase is running the n8 n12 can be linked to Cubase The CUBASE READY indicator lights up 10 ES 18 SL CUBASE Sal READY ES 12 lit Select Device Setup from the Devices tab to display the device setup window E Window Help Control Room Mixer Control Room Overview MIDI Device Manager MMC Master Mixer F3 Mixer 2 Mixer 3 Plug in Information Time Display VST Connections F4 VST Instruments Fil VST Performance F12 Video F8 Show Panel Device Setup n8 n12 Owner s Manual Using the n8 n12 with Cubase 4 Cubase Studio 4 Cubase Al 4 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 t
16. the LED lights up and the corresponding jacks output the monitoring signal Switch Output jacks C R SPEAKER SELECT A switch C R OUT jacks A L R C R SPEAKER SELECT B SR OUT jacks B L R switch C R SPEAKER SELECT C C R OUT jacks C L R switch NOTE While the C R SOURCE SELECT 5 1 switch is turned on you can use these switches to individually turn the surround channels on and off For more information please refer to page 47 DOWN MIX switch This switch converts 5 1 ch surround signals input from the DAW into 2 ch L R signals While the switch is on converted 2 ch signals are output from the C R OUT jacks A NOTE e In order to monitor in a surround environment you will need a surround capable application such as Cubase 4 The included Cubase Al 4 does not support surround This switch is effective only while the C R SOURCE SELECT 5 1 switch is turned on Q C R SOURCE SELECT switches These switches enable you to select a monitoring source the signal output from the C R OUT jacks The following switches and monitoring sources are available 5 1 switch Enables you to monitor the 5 1 ch surround signal input from the DAW page 46 DAW Enables you to monitor the DAW stereo switch signal DAW IN 1 2 ST switch Enab es you to monitor the STEREO bus signal AUX Enables you to monitor the AUX bus switch signal 2TR
17. 27 Power i iaia 8 PRE u a 17 24 A 14 24 Index R REC Cessna ale 15 19 RCO noinine 39 Beer silicati 14 16 REVERB LEVEL 16 REVERB TIME 16 REVERB TYPE 16 S Sample Rate 34 SOl irise de eea a 15 32 SOLO LEVEL rain 17 32 Ol a 15 18 ST MIX a nasse 19 ST OUT ssepe nie 16 21 STANDBY i 8 21 STEREO BAL ns 16 STEREO fader 16 STEREO ON un 16 Surround Monitor 46 Sweet Spot_ 28 48 T TALKBACK 2 gei 18 Templates etes 35 TOAUX ea 16 31 TO REG u a 16 31 de EE 16 31 TRACK CONTROL 19 TRANSPORT 19 U Unbalanced 9 W WDMIKS i4 inet 49 WET acid tds 15 42 Work MOE ia 19 37 n8 n12 Owner s Manual English Appendix Appendix Specifications Electrical Specifications Input and Output Specifications Sample Rate Internal 44 1 kHz 48 kHz 88 2 kHz 96 kHz External 44 1 kHz 48 kHz 88 2 kHz 96 kHz 0 1 Total Harmonic Distortion GAIN Minimum 0 003 or less 1 kHz 18 dB into 600 Q lt Frequency Response fs 48 kHz 20 Hz 20 kHz 1 3 dB 4 dB into 600 Q 2 ata SER ESOO fs 96 kHz 20 Hz 40 kHz 1 3 dB 4 dB into 600 Q Dynamic Range 114 dB
18. AUX bus signals or the output level at switch the meter view use the M Depending on the setting of the C R OUT jack To ETER SELECT switch the METER SELECT switch the meter indication will change as follows METER SELECT MeterA Meter B Meter C switch C R OUT C R OUT C R OUT C R jacks A jacks B jacks C L R C SW LS RS BUS STEREO REC bus AUX bus Surround channels are indicated in parentheses Bi n8 This meter indicates the output jacks level at the C R OUT METER SELECT switch This switch determines which signal will be indicated via the MASTER LEVEL METER will toggle between C R C R O STEREO REC AUX bus Pressing the switch UT jacks and BUS Y INPUT METER switch This switch selects the signal whose level is indicated on the input meter page 15 in the Channel Control section Pressing the switch repeatedly toggles between PR POST post fader E pre fader and n8 n12 Owner s Manual 17 Front and Rear Panels Control Room section n12 CONTROL_ROOM ice ACC SPEAKER SELECT ns TALKBACK D C R SPEAKER SELECT switches These switches select the jacks that will output the control room monitor signal When you turn on one of the switches
19. Configuration count configuration speakers Browse Presets A new stereo track is created 3 Select the created stereo track then turn the Record Enable button on 4 Click the input routing option to select n12 n8 ST The STEREO bus signal of the n8 n12 will be input to the new stereo track in Cubase 5 6 7 If the Cubase track outputs are routed to the n8 n12 STEREO buses via DAW TO ST turn off the DAW TO ST ON switch If the DAW TO ST ON switch is on during mixdown an audio loop will be created producing a very loud noise Be sure to turn off the DAW TO ST ON switch before you start mixdown Cubase n8 n12 AUDIO TRACK AUDIO TRACK AUDIO TRACK AUDIO TRACK INPUT CHANNEL INPUT CHANNEL INPUT CHANNEL INPUT CHANNEL English AUDIO LOOP AUDIO TRACK Press the 1 4 switch or the lt lt switch to locate the top of the project Press the REC switch to start mixdown The project starts playing from the beginning and the signals being mixed on the n8 n12 in real time will be recorded to the new stereo track lolo gt Redi S n 3 4 43 dada e edem a ia aa o mixdown tracks When you have finished recording press the B switch to stop the playback To review the recording click the solo state button to turn it on then use the lt or 14 switch to return to the beginning of the p
20. Cubase Install Cubase Al 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 Three band EQ on each channel Each input channel features a full 3 band high mid low equalizer providing easy sound shaping to suit your preferences Digital reverb at your service A built in digital reverb can be assigned to all input channels If a computer is connected to the mixer you can also apply digital r
21. DA converter STEREO OUT lt SN ratio at the maximum level 106 dB AD DA to STEREO OUT uu Hum amp Noise 128 dB Equivalent input noise en d 95 dB Residual output noise STEREO fader Minimum GAIN Maximum 95 dB 99 dB SN STEREO OUT PAD OFF STEREO fader Nominal level All channel faders Minimum GAIN 60 dB 60 dB 64 dB SN STEREO OUT PAD OFF STEREO fader Nominal level One channel fader Nominal level T Maximum Voltage Gain n12 84 dB CH1 8 to STEREO OUT C R OUT 50 dB CH9 12 to STEREO OUT C R OUT Ss 76 dB CH1 8 to AUX OUT D 42 dB CH9 12 to AUX OUT el n8 76 dB CH1 4 to STEREO OUT C R OUT 42 dB CH5 8 to STEREO OUT C R OUT Crosstalk 1 kHz GAIN Minimum n12 86 dB CH1 8 Adjacent Input 80 dB CH9 12 n8 86 dB CH1 4 At 80 dB CH5 8 D Es Analog Output Type Input Level Analog Input Type Nominal Level Maximum Level Input Impedance PUT A Mono XLR type balanced 60 dBu to 10 dBu 24 dBu 3 5 kQ CH1 8 n12 48 V Phantom powered CH1 4 n8 PUT B Mono TRS phone type balanced 60 dBu to 10 dBu 24 dBu 3 5 kQ CH1 8 n12 500 kQ Hi Z ON CH1 4 n8 SERT IN TRS phone type unbalanced 0 dBu 14 dBu 10kQ e PUT Stereo RCA pin type unbalanced 40 dBV to 10 dBV 4 dBV 10 kQ CH9 12 n12 2 CH5 8 n8 Phone type unbalanced 26 dBu to 4 dBu 18 dBu 10 kQ LU 2TR IN RCA pin type unbalanced 10 dBV 4 dBV 10 kQ Output Level Nominal Level
22. DAW REVERB Return TALK BACK signals AUX LEVEL Control to 6 dB to AUX bus to 6 dB AUX bus to AUX OUT DA Converter 24 bit linear 128 times oversampling fs 44 1 kHz 48 kHz 64 times oversampling fs 88 2 kHz 96 kHz advanced multi bit delta sigma conversion PHONES AUX C R LEVEL control for each AUX and C R jacks aximum Output Level 25 mW 8 Q 75 mW 40 Q DAW I O Audio I F n12 16 ch input 16 ch output n8 12 ch input 12 ch output IDI I F 2 port input 2 port output DAW remote control Input Output via MIDI IN OUT jacks MIDI IN OUT 1 port input 1port output Output Level Meter ASTER LEVEL METER ni2 12 points LED meter x 6 n8 12 points LED meter x 2 ETER SELECT Switch C R level Bus level Reverb Type HALL ROOM PLATE To AUX bus REC bus STEREO bus Control REVERB TIME LEVEL DAW Remote Control WORK MODE ST MIX HARDWARE MIX 5 1 MIX 5 1 MIX is only for n12 MONITOR REMOTE Recording monitor ON OFF VST effects WET ON OFF CLICK REMOTE Click ON OFF CLICK LEVEL control TRACK CONTROL PREV NEXT REC READY switch TRANSPORT CYCLE Previous Maker Add Maker Next Marker REW FWD STOP PLAY REC switch n8 n12 Owner s Manual Appendix Bus connections of n8 n12 and DAW Cubase 4 Cubase Studio 4 Cubase Al 4 Extensions for Steinberg DAW needs to be installed for the
23. Editing Audio GE Choose Editing gt Project amp Mixer Tool Modifiers Tools Video Event Display NOTE N e If this is not checked the TRACK CONTROL switch of the DAW Remote Control section might not operate correctly e 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 New Project 16 MIDI Tracks 4 Stereo 8 Mono Audio Track Recorder Cubase Synths On Instrument Tracks Mastering Setup Music To Picture 5 1 Surround Play Order With Mixed Track Setup default Yamaha n12 multi channel recording Yamaha n12 stereo recording Yamaha n8 multi channel recording Yamaha n8 stereo recording project templates for n8 n12 Two templates each are provided for the n8 and n12 These templates contain audio I O and other preset data You can start recording immediately after opening one of these templates B Yamaha n12 multi channel recording E Yamaha n8 multi channel recording An individual input channel signal on the n8 n12 will be directly routed to each audio track in Cubase n8 n12 Owner s Manual 35 Using the n8 n12 with Cubase 4 Cubase Studio 4 Cubase Al 4 B Yamaha n12 stereo recording B Yamaha n8 stereo recording The REC bus signals on the n8 n12 will be routed to the Cubase audio tracks NOTE D f an n8 n12 project template
24. Enables you to monitor only the input switch signal at the 2TR IN jacks n8 OR SOURCE SELECT uu og 06 ol NOTE D In order to monitor in a surround environment you will need Cubase 4 The included Cubase AI 4 does not support surround You can turn on the 5 1 switch and ST switch simultaneously In this case the 5 1 ch L R signal and STEREO bus L R channel signals will be mixed and output DIMMER switch This switch turns on and off the Dimmer function that temporarily lowers the monitoring volume For example this can be convenient when you want to have a conversation in the control room MUTE switch This switch turns on and off the Mute function that mutes the monitoring signal Repeatedly pressing the switch toggles between on the switch will light up and off the switch will turn off Q CONTROL ROOM LEVEL control This control adjusts the monitoring volume in the control room Turning the knob clockwise will increase the volume level TALKBACK LEVEL control This control adjusts the input level of the built in microphone The W position corresponds to the nominal level 0 dB 0 TALKBACK switch This switch turns on and off the Talkback function which enables you to communicate with the musicians When the Talkback function is turned on the switch LED will flash and the Dimmer functio
25. If This product when installed as indicated in the instructions con this product is found to be the source of interference which can be tained in this manual meets FCC requirements Modifications not determined by turning the unit OFF and ON please try to elimi expressly approved by Yamaha may void your authority granted by nate the problem by using one of the following measures the FCC to use the product Relocate either this product or the device that is being affected by 2 IMPORTANT When connecting this product to accessories and the interference or another product use only high quality shielded cables Cable s Utilize power outlets that are on different branch circuit breaker or supplied with this product MUST be used Follow all installation fuse circuits or install AC line filter s instructions Failure to follow instructions could void your FCC In the case of radio or TV interference relocate reorient the authorization to use this product in the USA antenna If the antenna lead in is 300 ohm ribbon lead change the 3 NOTE This product has been tested and found to comply with the lead in to co axial type cable requirements listed in FCC Regulations Part 15 for Class B digital If these corrective measures do not produce satisfactory results devices Compliance with these requirements provides a reason please contact the local retailer authorized to distribute this type of able level of assurance that your use of this
26. In the Cubase mixer adjust the mix balance between the tracks B Assign each audio track to an input channel 7 individually This method is useful when you want to mix a solo part or other important parts While playing back the Cubase project control the channel faders to adjust the mix balance If the signals are being mixed to the STEREO buses via DAW TO ST rotate the DAW TO ST LEVEL control to adjust the signal level You can also apply the n8 n12 built in digital reverb to the audio track playback signal by turning on the REVERB TO ST ON switch and rotating the channel REVERB control Cubase n8 n12 AUDIO TRACK INPUT CHANNEL AUDIO TRACK INPUT CHANNEL E Assign multiple audio tracks to the same input channel In this case multiple audio tracks will be mixed in the Cubase mixer then routed to the n8 n12 input channel This method is useful when you want to first create a mix from multiple tracks such as drums recorded on multiple tracks Cubase n8 n12 AUDIO TRACK INPUT CHANNEL AUDIO TRACK INPUT CHANNEL Bi Select the n12 n8 L R output routing option then mixing signals via DAW TO ST If you turn the DAW TO ST ON switch on you can use DAW TO ST as the input channel Cubase n8 n12 INPUT CHANNEL AUDIO TRACK INPUT AUDIO TRACK CHANNEL DAW TO ST on 6 Use the Cubase mixer control to adjust the ou
27. Input Channel 1 2 n8 n12 Owner s Manual Appendix iagrams Imensiona 515 0 ENDE u sjnag 520 ea Cel D o em ag no a E nh B B 3 8 B S S a H ke B A 000 ad ada a 0S AC ecce ccc sup 7 ee i caco ecc nl uus Z2 KEE oS R aeaaaee ace sol os Ri ee eeee eee anf g 0000 0000 0 os 55 66 9066 ecc anf e 785 66 6666 666 col EE e e Le e 785 eeeeeeeee sn o 785 66 6666 666 sd H IE 0000 of oD ol o Bi eee aaa anf o 782 686666 666 anf e p e e e e S n SID UDA4 A Mh Mh h Mhh Mh M AM n8 joupds3 N ER oc e e D o o o o Ba gs 4 eQ n B B of e g ug e e H eee ege so m 8 g 38 8 000050 8 Gi aaea ecc ur de pa aaea ccc uc 5 Topp 355 200000 D 05 0 0 6666 ecc uc
28. S Audio 01 oe WA Audio 02 0 00 Audio 04 gt gt Audio 03 gt Input Routing Audio 05 input source of audio track Input Routing NOTE N e To select a track in Cubase you can use the PREV A and NEXT W switches in the DAW Remote Control section on the n8 n12 e If the track s input output routing is not displayed click the Show Inspector button Cubase 4 Project Untitled Show Inspector n8 n12 Owner s Manual 39 Using the n8 n12 with Cubase 4 Cubase Studio 4 Cubase Al 4 5 Make sure that the Record Enable button is on red for the recording destination audio track in Cubase If it is off press the REC READY switch in the DAW Remote Control section to turn on the Record Enable button The REC bus signals will be sent to the corresponding audio track If you want to continue recording proceed to Step 10 Cubase 4 Project Untitled1 D le Beat t Ze Touch Fader 100 ms mm Audio 01 Audio 02 0 00 If you wish to turn on the Record Enable button for multiple tracks by using the REC READY switch make the following settings in Cubase 1 Select Preferences from the File menu to open the default setting dialog box 2 Select Project amp Mixer from the Editing menu 3 Remove the check from the Enable Record on Selected track check box in the dialog box 4 Click OK to close the dialog box E Setting the Monitor Remote functi
29. YAMAH mees DIGITAL Milla STUDIO Ac POWER aeren YAMAHA PA 30 mono ANALOG INPUTS INPUT A INPUT A INPUT A INPUT A INPUT A INPUT A aaaaadaa INPUT B INPUT B INPUT B INPUT B INPUT B INPUT B INPUT B INPUT B INSERT 1 0 INSERT 1 0 INSERT 1 0 INSERT I O INSERT 1 0 INSERT 1 0 INSERT 1 0 INSERT 1 0 O OIOIOIOIO 6477181 6751228 6909728 5613147 i 2O alio O a A ATION ING STUDIO ac POWER AD PTO MONO YAMAHA PA 20 IEA YAMAHA CORIIDRATION MADE IN INDONESIA ANALOG INPUTS d 3 INPUT A INPUT A INPUT A INPUT A Gelee INPUT B INPUT B INPUT B INPUT B INSERT 1 0 INSERT 1 0 INSERT 1 0 INSERT 1 0 STANDBY 6 60 0 10 DS ense FE ANALOG INPUT jacks monaural These monaural channel input jacks are used to connect microphones or musical instruments Each input channel features two types of jacks INPUT A and INPUT B INPUT A jacks These are balanced XLR type input jacks INPUT B jacks These are balanced TRS phone type input jacks that also support unbalanced connections ERO use both at the same time If you connect cables to both
30. and the listening point for each speaker so that the left and right monitor signals will be well balanced Adjust the speaker height so that the tweeter will be at the same height as your ears In this way you will be able to hear higher ranges which project at a narrow angle n8 n12 Owner s Manual A Hands On Guide to the n8 n12 A Hands On Guide to the n8 n12 Here are the basics for using your n8 n12 as a stand alone mixer Let s Hear It 2 Set all faders on the mixer to minimum Connecting sound sources and monitor devices Nothing happens until you connect musical instruments microphones other sound sources and monitoring speakers to the mixer and turn on the power to the mixer So 3 Turn on the power to all the devices in the following order connected instruments and microphones gt n12 n8 monitor speakers Make sure that you turn on the power to the devices starting with the input sources in the order of connection 1 Make sure that the power to all devices is turned off Otherwise a rather loud noise may blow you away then connect musical instruments microphones and other sound sources to the mixer Refer to Setup Procedure on page 22 for more information on connections A good rule of thumb for recording via microphones is to turn the high pass filter on for microphone channels except in very special cases As the name implies a high pass filter cuts only those sig
31. downstream Example Instruments mics CD players and other peripheral devices n8 n12 Powered speakers power amps When turning the power off reverse the above sequence Recording Basics Recording Basics Techie Words Don t 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 00 Professional audio gear such as a mixer or a power amplifier features line inputs and outputs with a nominal level of 4 dBu 20 dBu 0 775VW e 0 dBu Keyboards and other line instruments have line inputs and outputs with
32. even channel signals are fed to the R bus For example rotate the BAL control all the way to right to output only the even right channel signals NOT For more information on how to use the compressor please refer to page 28 14 n8 n12 Owner s Manual SOLO switch This switch turns the Solo function on and off Turn this switch on the switch LED lights up if you want to listen to certain channels without changing the mix contents or signal path NOTE N If you switch the monitor source by using the C R SOURCE SELECT switch page 18 all channel SOLO switches will be reset to off Channel ON switch Switches each channel on and off If you turn the switch on the channel signal will be sent to each bus When the switch is turned off the switch indicator turns off the channel signal will be sent only to the AUX bus NOTEN Direct output to a connected computer is always available regardless of the channel ON switch status Q Channel fader The channel fader adjusts the input channel signal level The fader at the O position corresponds to the nominal output level This means that the pre fader level and post fader level are identical Input meter The four LEDs indicate the input channel signal level When the input signal is clipping the OVER LED will light up You can check the level of the post fader signal via the input meter by setting the INPUT METER switch page 17 in the Met
33. external device such as an effects processor The output level at these jacks can be adjusted via the AUX LEVEL control page 17 in the Meter section MIDI IN OUT jacks These jacks are used to connect external MIDI devices such as a synthesizer via MIDI cables If you are connecting the n8 n12 to a computer via an IEEE 1394 cable these jacks serve as a MIDI interface that connects the computer to external MIDI devices DAW I O jacks These 6 pin IEEE 1394 S400 jacks are used to connect a computer to the mixer via a IEEE 1394 cable Both jacks feature the same functionality You can use one of them to connect a computer and the other connector to connect daisy chained devices If your computer has a 4 pin IEEE 1394 jack use a 4 pin to 6 pin type IEEE 1394 cable that meets the S400 specifications Front and Rear Panels AN Caution Be sure to connect the IEEE1394 cable plug to the DAW UO jack in the correct orientation 7 w M DAW 1 0 Plug in the jack in the correct orientation NOTE D e Use an IEEE 1394 cable that meets the S400 standard Yamaha recommends that you use an IEEE 1394 cable with a length of 4 5 meters or less e Connect your IEEE 1394 cables so that they do not create a loop For more about loop connections refer to page 51 FOOT SW jack Connect an optional foot switch such as Yamaha FC4 or FC5 to this jack In this way you can control the transport functions of Cubase 4 C
34. frequency for the mid band When turning the switch on make sure that only condenser microphones are connected to the INPUT A jacks HIGH gain control Devices other than condenser microphones may be This control adjusts the high band gain damaged if they are connected to the phantom power supply Note however that the switch may be left on when you MID frequency control connect balanced dynamic microphones his control adjusts the mid band center frequency To avoid damage to your hearing or speakers be sure to roll MID gain control off the volume level of the amplifier or powered speakers This control adjusts the mid band gain before turning this switch on or off Yamaha also recommends that you turn all output controls such as the LOW gain control STEREO fader and C R PHONES LEVEL control to This control adjusts the low band gain minimum settings before operating the switch n Setting each gain control knob to the W position PHASE switch produces a flat frequency response no boost Turning this switch on inverts the phase of the Turning the knob clockwise boosts the signal from the input jacks corresponding frequency band while turning For more information on the PHASE switch refer to counter clockwise attenuates the band the next page To raise the mid band center frequency turn the Hi Z switch MID frequency control clockwise To lower the center frequen
35. in the Note column for each data you can sort the list by number by clicking the column entitled Note Description column explanation of the data 4 To load the selected data on the n8 n12 click the UPDATE button It takes only a few seconds to load the data When the load operation is complete you can use the new Sweet Spot data immediately NOTE f During the load operation the n8 n12 output signals will be muted To return the Sweet Spot data to the factory set state select 0 Preset in the Sweet Spot Data list and click the UPDATE button Using the n8 n12 with Software Other Than Cubase Using the n8 n12 with Software Other Than Cubase You can use the n8 n12 with other DAWs in addition to Cubase as well as multimedia applications such as Windows Media Player To do so follow the procedure below NOTE A dedicated driver Yamaha n Driver must already be installed and set up as the default driver Using the n8 n12 with a DAW other than Cubase If you are using a typical DAW other than Cubase you will be able to do the following e Input and output audio signals e Input and output MIDI messages e Use remote control to operate the DAW NOTE J For information on setting up your DAW refer to the DAW owner s manual E Input and output audio signals In the audio driver settings of your DAW software select ASIO mLAN if using the ASIO driver or mLAN Audio Out if using the WD
36. is not displayed the n8 n12 Extension software may not be installed correctly In the Extensions_ folder on the TOOLS for n CD ROM double click setup exe and install the software again e For more information on the templates please refer to the Appendix 10 Click the name of the template you wish to use then click OK 11 When the directory selection dialog box opens specify a folder in which you wish to store the created project file and other audio files Then click OK A project window based on the selected template opens 36 n8 n12 Owner s Manual Using the n8 n12 with Cubase 4 Cubase Studio 4 Cubase Al 4 Using the Link Function Remotely controlling the Cubase transport section and audio tracks From the n8 n12 you can remotely control playback recording and other Cubase transport operations as well as perform track operations such as selecting tracks and operating the Record Enable button cycle mode on off Record Enable button on off locating a marker track selection adding markers TRACK C NTROL O PREV NEXT REC CYCLE m ADD I a v READY rewind record fast forward play stop Remotely adjusting the click sound metronome You can turn the Cubase metronome click sound on or off and adjust the volume level directly from the n8 n12 panel Adjust the click volume here
37. jacks INPUT B jack will take priority INSERT UO jacks These phone type unbalanced l O jacks are positioned immediately before the A D converter You can connect your effects processor or other devices directly to these input channels NOTE These are TRS phone jacks that support bidirectional operation Connection to an INSERT UO jack requires a special insertion cable as illustrated below Use a separately sold Yamaha insertion cable YIC025 050 070 You may use either of these jacks but you may not To the input jack of the external processor To the INSERT I O jack i ring tip To the output jack of the external processor n8 n12 Owner s Manual ANALOG INPUT jacks stereo These are stereo input jacks that connect line level instruments such as a synthesizer Two jack types are provided phone type and RCA pin type Phone type These are unbalanced stereo input jacks RCA pin type These are unbalanced stereo input jacks Connect odd channels to the L jacks and even channels to the R jacks If you connect only odd channels to the phone type jacks the same signals will be fed to the even channels resulting in monaural inputs NOTE j If you connect cables to both phone type and RCA pin type jacks signals are mixed before the GAIN 2TR IN jacks control then input to the corresponding channel Use these unbalanced RCA pin jacks to input a stereo sound source Use these jacks when you wan
38. noise it is likely to pick up To avoid noise use the shortest cable possible Anatomy of a shielded cable hot cold shield ground jacket balanced unbalanced 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 n8 n12 Owner s Manual 9 10 Recording Basics This is why balanced lines excel at rejecting noise A phase inversion noise canceling How unbalanced
39. sensitivity as high as possible without the input signal clipping NOTE N To achieve a clear sound with the least noise amplify the input to the desired average level as early as possible in the signal path That means that you should amplify the input using the GAIN control in the head amplifier as much as possible But remember too much initial gain is bad because it will cause clipping and will distort the sound Amplify the signal to a level just below clipping A Hands On Guide to the n8 n12 Setting up the monitoring environment Of course you need to hear what is going on right That is called monitoring You can monitor the input channel signals through connected monitor speakers or headphones The n12 also provides C R SPEAKER SELECT switches that let you select one output destination from multiple monitor speakers Oss STEREO BUS L STEREO BUS R OUT 77 CONTROL ROOM LEVEL STEREO FADER O Ges R OUT A gt O OUTB gt O OUT C gt C R SPEAKER SELECT 27239 C R SOURCE SELECT C R PHONES O c R PHONES U CONTROL ROOM Turn on one of the CONTROL ROOM C R SOURCE SELECT switches that corresponds to the desired monitoring source The following signals are available as monitoring sources in the control room 5 1 switch Enables you to monitor a 5 1 channel surround signal input from the DAW Enables you t
40. two controls are available for each compressor MORPH control and DRIVE control MORPH conirol This control specifies the compressor setting Knob QD AUX control positions A E correspond to different presets You This control adjusts the level of the input channel can easily change the compressor setting by rotating signal sent to the AUX bus Use this control when the control Knob positions between alphabetical you are sending a mix monitoring signal to the settings will use an intermediate value taken from musicians or sending the signal to an external between two corresponding preset values device such as an effects processor DRIVE control NOTE i the E Ilia ui in i V erect signals that pass throu a will De This control specifies the amount of compression As directly Feed to Aurel lee ho AUX you rotate the control clockwise more compression control will be temporarily disabled while the WET is applied The output level changes automatically switch is turned on as the amount of compression changes COMP LED PAN and BAL controls This LED lights up when the compressor is triggered PAN control This control determines the stereo position of the monaural input channel Rotate the knob clockwise to pan the signal right and counter clockwise to pan left BAL control This control determines the volume balance between the left and right stereo channels Odd channel signals are fed to the L bus and
41. using the Sweet Spot Data Manager make sure that the n8 n12 is connected to a computer correctly and that the application software including the driver software has been installed correctly e To avoid malfunction connect the n8 n12 to a computer directly without any other devices connected to either machine 2 Click Start All Programs and start up Sweet Spot Data Manager When the application starts up the following screen will appear Sweet Spot Data list Sweet Spot Data Manager for all instrume uppate Current Data Preset UPDATE button Current Data column If the n8 n12 is connected to a computer correctly the UPDATE button will be highlighted in color The current loaded data on the n8 n12 will be listed in the Current Data column NOTE D If an error message is displayed check that the cable is correctly connected and that the driver and other required software is installed correctly Then restart the application n8 n12 Owner s Manual 3 In the Sweet Spot Data list click the name of a Sweet Spot Data set that you wish to load on the n8 n12 You can sort the list by No Name Author Description or Note by clicking the corresponding column title Note column comment field No column Author column data number creator for all instrume Name column Sweet Spot Data name NOTE N You can enter comments in the Note column For example if you enter a number
42. x Messages x x Altered KKKKKKKKkKKKkk k x x 1 x 1 Note d e Number True voice Kok HIER EES Velocity Note ON x x Note OFF x x LUI After Key s x x Touch Ch s x x Pitch Bend x x Ka gt Control 0 121 x x E Change D 2 D Wa lt x LL Prog x x Change True RRR KK AA ke ke ke ke e e ke x a System Exclusive x 1 x 1 E Common Song Pos x x S Song Sel x x 2 Tune x x LU System Clock x x Real Time Commands x x Aux All Sound Off x x Messages Reset All Cntrls x x Local ON OFF x x All Notes OFF x x Active Sense x x Reset x x Notes 1Used only for the communication with DAW The MIDI Port is used as an extended port for DAW Mode 1 OMNI ON POLY Mode 2 OMNI ON MONO o Yes Mode 3 OMNI OFF POLY Mode 4 OMNI OFF MONO x No ns n12 Owner s Manual 211 For details of products please contact your nearest Yamaha representative or the authorized distributor listed below Pour plus de d tails sur les produits veuillez vous adresser Yamaha ou au distributeur le plus proche de vous figurant dans la liste suivante NORTH AMERICA CANADA Yamaha Canada Music Ltd 13 M Te 5 Milner Avenue Scarborough Ontario 1S 3R1 Canada 1 416 298 1311 U S A Yamaha Corporation of America 66 U Te 00 Orangethorpe Ave Buena Park Calif 90620 S A 1 714 522 9011 CENTRAL amp SOUTH AMERICA ME XICO Yamaha de M xico S A de C V C
43. 2 Owner s Manual 207 Espanol Appendix Other Applications SONAR 5 Windows Media Player ASIO Driver Output Device Port n12 Input n12 Output Input Device Port ASIO mLAN mLANO1 gt DAW TO ST L 5 1 L CH1 Direct Ou ASIO mLAN mLANO1 ASIO mLAN mLANO2 DAW TO ST R 5 1 R CH2 Direct Ou ASIO mLAN mLANO2 ASIO mLAN mLANO3 Input Channel 9 5 1 C CH3 Direct Ou ASIO mLAN mLANO3 ASIO mLAN mLANO4 Input Channel 10 5 1 LFE CH4 Direct Ou ASIO MLAN MLANO4 ASIO mLAN mLANO5 Input Channel 11 5 1 Ls CH5 Direct Ou ASIO mLAN mLANO5 ASIO mLAN mLANO6 Input Channel 12 5 1 Rs CH6 Direct Ou ASIO MLAN mLANO6 ASIO mLAN MLANO7 Input Channel 1 CH7 Direct Ou ASIO mLAN mLANO7 ASIO mLAN mLANO8 Input Channel 2 CH8 Direct Ou ASIO MLAN mLANO8 ASIO MLAN MLANO9 Input Channel 3 CH9 Direct Ou ASIO mLAN MLANO9 ASIO mLAN mLAN10 Input Channel 4 CH10 Direct Out ASIO mLAN mLAN10 ASIO mLAN mLAN11 Input Channel 5 CH11 Direct Out ASIO MLAN mLAN11 ASIO MLAN MLAN12 Input Channel 6 CH12 Direct Out ASIO MLAN MLAN12 ASIO MLAN MLAN13 Input Channel 7 REC BUS L ASIO mLAN MLAN13 ASIO MLAN MLAN14 Input Channel 8 REC BUS R
44. 215 2626 OTHER ASIAN COUNTRIES Yamaha Corporation Asia Pacific Music Marketing Group Nakazawa cho 10 1 Hamamatsu Japan 430 8650 Tel 81 53 460 2317 OCEANIA AFRICA Yamaha Corporation Asia Pacific Music Marketing Group Nakazawa cho 10 1 Hamamatsu Japan 430 8650 Tel 81 53 460 2312 MIDDLE EAST TURKEY CYPRUS Yamaha Music Central Europe GmbH SiemensstraBe 22 34 25462 Rellingen Germany Tel 04101 3030 OTHER COUNTRIES Yamaha Music Gulf FZE LOB 16 513 P O Box 17328 Jubel Ali Dubai United Arab Emirates Tel 971 4 881 5868 AUSTRALIA Yamaha Music Australia Pty Ltd Level 1 99 Queensbridge Street Southbank Victoria 3006 Australia Tel 3 9693 5111 NEW ZEALAND Music Houses of N Z Ltd 146 148 Captain Springs Road Te Papapa Auckland New Zealand Tel 9 634 0099 COUNTRIES AND TRUST TERRITORIES IN PACIFIC OCEAN Yamaha Corporation Asia Pacific Music Marketing Group Nakazawa cho 10 1 Hamamatsu Japan 430 8650 Tel 81 53 460 2312 HEAD OFFICE Yamaha Corporation Pro Audio amp Digital Musical Instrument Division Nakazawa cho 10 1 Hamamatsu Japan 430 8650 Tel 81 53 460 2445 Yamaha Web Site English only http www yamahasynth com Yamaha Manual Library http www yamaha co jp manual U R G Pro Audio amp Digital Musical Instrument Division Yamaha Corporation O 2007 Yamaha Corporation WH22290 701APCR 01A0 Printed in Indonesia
45. 6 dB OQ PHASE Switch Normal Reversed CH1 7 n12 CH1 3 n8 YA igh Pass Filter Switch OFF 80 Hz 12 dB oct i Z Switch ON OFF CH8 n12 CHA n8 Input impedance 500 kQ D AD Converter 24 bit linear Enhanced dual bit delta sigma conversion A Analog DAW Input PUT SELECT Switch A IN analog DAW IEEE1394 jack COMP LED Lights in red when the compressor is triggered ORPH Control Morphs between 5 Sweet Spot Data DRIVE Control 0 OFF to 10 Aa Equalizer 3 band PEQ 18 dB MID frequency range 100 Hz 10 kHz e ON Switch ON OFF e REVERB Control Adjusts a post fader signal after PAN 9 AUX Control Adjusts a pre fader signal after PAN pus PAN Control 128 resolution LL SOLO Switch ON OFF DIRECT OUT Pre fader Input Meter LED x 4 OVER red 3 dB amber 14 dB amber 48 dB green n12 Pre fader Post fader n8 Only pre fader o WET Switch WET ON OFF IK Stereo Input Channels Analog Input S Han GAIN Control 30 dB variable 26 dB to 4 dB 2 High Pass Filter Switch OFF 80 Hz 12 dB oct H TO PREEN OUT REC bus STEREO AD Converter 24 bit linear Enhanced dual bit delta sigma conversion Analog DAW Input INPUT SELECT Switch A IN analog DAW IEEE1394 jack Equalizer 3 band PEQ 18 dB MID frequency range 100 Hz 10 kHz ON Switch ON OFF REVERB Control Adjusts a post fader signal after PAN AUX Control Adjusts a pre fader signal after PAN BAL Control 128 resolution SOLO Switch ON OFF DIRECT OUT Pre fader Input Meter LED x 4 O
46. 705 ce 6666 eee nl e g f 0000 of oD ol ong eeeeee ccc cc TH 0 aa 60606 666 sof nm e e e e Y lo e D D n8 n12 Owner s Manual Appendix Block Diagram 21 41 ino mva a 91 11 100 ma 71 gt p A i ar am Frin men DEE 1NO NI b6813931 21 193443 4 XNY Z GYIATY 2 238 2 gu mm m Iain Ma lt ANO NI v6 13331 91 193443 1 XNY Z gyan3u 2 038 3 zu 341 AS DEE es SU Le MY KH H xnv mya 91 Ni m
47. ASIO mLAN mLAN14 ASIO mLAN mLAN15 DAW TO AUX L STEREO BUS L ASIO mLAN mLAN15 ASIO mLAN mLAN16 DAW TO AUX R STEREO BUS R ASIO mLAN mLAN16 Output Device Port n8 Input n8 Output Input Device Port ASIO mLAN mLANO1 DAW TO ST L CH1 Direct Ou ASIO MLAN mLANO1 ASIO MLAN MLANO2 DAW TO ST R CH2 Direct Ou ASIO mLAN mLANO2 ASIO mLAN mLANO3 Input Channel 5 CH3 Direct Ou ASIO mLAN mLANO3 ASIO mLAN MLANO4 Input Channel 6 CH4 Direct Ou ASIO MLAN MLANO4 ASIO MLAN mLANO5 Input Channel 7 CH5 Direct Ou ASIO mLAN mLANO5 ASIO mLAN mLANO6 Input Channel 8 CH6 Direct Ou ASIO mLAN mLANO6 ASIO mLAN mLANO7 Input Channel 1 CH7 Direct Ou ASIO mLAN MLANO7 ASIO mLAN mLANO8 Input Channel 2 CH8 Direct Ou ASIO mLAN mLANO8 ASIO mLAN mLANO9 Input Channel 3 REC BUSL ASIO mLAN MLANO9 ASIO mLAN MLAN10 Input Channel 4 REC BUS R ASIO mLAN MLAN10 ASIO mLAN mLAN11 DAW TO AUX L STEREO BUS L ASIO MLAN mLAN11 ASIO MLAN MLAN12 DAW TO AUX R STEREO BUS R ASIO mLAN mLAN12 WDM Driver Output Device Port n12 Input mLAN Audio Out 1 2 DAW TO ST L R 5 1 L 5 1 R mLAN Audio Out 3 4 Input Channel 9 10 5 1 C 5 1 LFE mLAN Audio Out 5 6 Input Channel 11 12 5 1 Ls 5 1 Rs mLAN Audio Out 7 8 Input Channel 1 2 Output Device Port n8 Input mLAN Audio Out 1 2 DAW TO ST L R mLAN Audio Out 3 4 Input Channel 5 6 mLAN Audio Out 5 6 Input Channel 7 8 mLAN Audio Out 7 8
48. DWARE MIX switch in the DAW Track 7 n12 7 Remote Control section the switch LED lights up Track 8 n12 8 When the switch is turned on the input source for all input channels is switched to DAW Cubase audio Track 9 n12 9 10 tracks The Cubase audio track signals will be input Track 10 and higher n12 11 12 at the point immediately after the A D converter in each input channel H2 Cubase Cubase track Output to n8 input channe AUDIO TRACK Track 1 n8 1 AUDIO TRACK Track 2 n8 2 Track 3 n8 3 Track 4 n8 4 Track 5 n8 5 6 INPUT CHANNEL Track 6 and higher n8 7 8 NOTE While the Work mode is set to HARDWARE MIX you can select analog inputs A IN as the input source for the input channels This is convenient if you wish to add analog input signals to the mix INPUT CHANNEL n8 n12 5 If necessary click the audio track output routing menu and change the output destination When you set the Work mode to HARDWARE MIX Cubase 4 Project Untitled the audio track outputs will be assigned to channels OW elles amp te AA ch in the order of their track number Audio 01 Cubase 4 Project Untitled1 En offis amp t amp PA Audio 01 audio track output destination track numbers Output Routing n12 Dir1 n12 LiR ren n12 3 n8 n12 Owner s Manual 43 Using the n8 n12 with Cubase 4 Cubase Studio 4 Cubase Al 4 Use one of the following three methods to route Cubase audio tracks to the n8 n12
49. EREO bus signal in the Control Room If necessary re adjust the monitoring level by rotating the CONTROL ROOM LEVEL control or the C R PHONES control METER post sus O i SELECT CONTROL ROOM C R SPEAKER SELECT INPUT CHANNEL STEREO BUS L STEREO BUS R INPUT A INPUT B DO CHANNEL FADER n8 n12 Owner s Manual 27 28 A Hands On Guide to the n8 n12 Making Great Mixes Manipulating compression The n8 n12 features a high quality compressor inherited from Yamaha s cutting edge digital mixers acclaimed by engineers all over the world A compressor is an effect that restrains the peak levels of an input signal while enhancing the overall loudness of the signal Today compressors are used in virtually every recording environment as an important effect that significantly influences the character of the sound However most compressors require specialized knowledge and experience in order to obtain the optimal results The n8 n12 use newly developed Sweet Spot Morphing Technology to deliver professional quality results with easy operation The compressors of the n8 n12 contain preset settings Sweet Spot data that were created by top class engineers and can be used simply by adjusting morphing the Sweet Spot Data according to your taste By accessing the Yamaha website you can obtain additional Sweet Spot data created by famous
50. Extensions for Steinberg DAW software has been installed properly Make sure that the n8 n12 is connected to the computer via an IEEE 1394 cable You must use Cubase 4 Cubase Studio 4 or Cubase Al 4 Cubase SX3 and Cubase versions older than version 4 do not support the Link function n8 n12 Owner s Manual English 51 Troubleshooting e From the Devices menu select Device settings to open the Cubase Device Settings panel then make sure that Yamaha n 12 n8 has been registered as a remote controller Also make sure that n12 n8 Remote has been selected as the MIDI I O ports screen is supposed to appear the first time you connect the n8 n12 to your computer If you connect the n8 n12 to a computer then later switch to another computer and then connect it to the previous computer this screen also appears There may be multiple IEEE 1394 interfaces installed on the computer In this case right click the driver icon on the task tray then select Driver Setup and then select one of the IEEE 1394 interfaces to which you wish to connect the n8 n12 Finally re insert the IEEE 1394 cable e Try returning the settings to their default state by to be monitored Create a bus or track manually right clicking the driver icon in the task tray and or use one of the n8 n12 project templates see selecting RESET ALL page 34 B The computer processing speed is too slow The E Pressing a WORK MODE swit
51. HONES jack always output downmix signals You can turn on the 5 1 switch and the ST Switch in the Control Room section simultaneously In this way you can mix together the surround L and R channel signals and the L and R signals in the STEREO buss then output them to the monitor speakers If the DAW TO ST ON switch has been turned on turning on the 5 1 and ST switches together at the same time will turn off the ON Switch the switch LED flashes n8 n12 Owner s Manual English 47 Replacing the Sweet Spot Data Replacing the Sweet Spot Data You can replace the n8 n12 s compressor settings Sweet Spot Data by using a dedicated software application called Sweet Spot Data Manager This application contains several Sweet Spot Data sets and enables you to easily replace load the data while the n8 n12 is operating For example you can apply compression using the preset data while recording and use other data while mixing Download the Sweet Spot Data Manager from the following URL http www yamahasynth com download Double click the Sweet Spot Data Manager icon and install the program as directed in the screen For details on the installation refer to the installation guide included with the application Follow the steps below to update the Sweet Spot data on your n8 n12 1 Make sure that the n8 n12 is connected to a computer via an IEEE 1394 cable and is operating normally NOTE Before
52. IDI Qut 2 Use only default devices 2 Click Apply to apply the settings then click OK to close the dialog 3 Turn on the C R SOURCE SELECT DAW switch on the n8 n12 then adjust the monitoring level for the control room NOTE For more information on how to set up playback software such as Windows Media Player refer to the owner s manual for the software or to its on line help n8 n12 Owner s Manual E 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 1 From the Start menu select Settings Control 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 5 1 Advanced Audio Properties Speakers Performance Select the speaker setup that is most like the setup you have 2 on your computer Speaker setup 5 1 surround sound speakers v 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 owner s manua
53. M driver and you will be able to input and output audio In the same way as when using Cubase the signals input to the n8 n12 can be recorded on the audio tracks of your DAW and the audio track playback signals can be mixed on the n8 n12 SONAR 5 displays the n8 n12 audio I O ports as follows SONAR 5 with ASIO driver DAW n8 n12 n8 n12 gt DAW n12 ASIO mLAN mLANO1 Left ASIO mLAN mLANO1 ASIO mLAN mLAN15 Right ASIO mLAN mLAN15 n8 ASIO mLAN mLANO1 Left ASIO mLAN mLANO1 ASIO mLAN mLAN 11 Right ASIO mLAN mLAN11 SONAR 5 with WDM KS driver DAW n8 n12 n8 n12 gt DAW n12 mLAN Audio Out 1 2 mLAN Audio Out 7 8 n8 mLAN Audio Out 1 2 mLAN Audio Out 7 8 NOTE If you are using the WDM KS driver only eight channels can be output from your DAW to the n8 n12 E Input and output MIDI messages DAW software displays the MIDI I O connectors on the rear panel of the n8 n12 as follows English MIDI ports that correspond to the n8 n12 MIDI I O connectors Input mLAN MIDI In 2 Output mLAN MIDI Out 2 B Remote control of the DAW You can use the switches in the DAW Remote Control section as shown below to remotely control DAWs other than Cubase lt lt rewind record fast forward play stop NOTE The Mackie Control USER SWITCH A function is assigned to the foot switch If you prefer you can assig
54. T SELECT switches While the INPUT SELECT A IN switch is turned on analog input can be selected as the input source While the INPUT SELECT DAW is turned on Cubase DAW output signal can be selected as the input source Typically you will select analog input for recording and select DAW when you wish to mix the recorded signals in Cubase using the n8 n12 2 Connect musical instruments and microphones to the mixer s input channels then adjust the gain and pan 3 Turn on the REC switches for the channels you wish to record The switch LEDs light up If you turn on the channel REC switches the corresponding input channel signals will be routed to the REC buses At this time the pan and volume balance of each input channel will be used Turn this on LED lights up 8 18 English E 1 4 On Cubase select the audio track on which you wish to record and then select n12 n8 REC as the input routing by clicking it The input source and output destination of the track will be displayed in the Inspector located to the left of the track list You can select the input source for the audio track by clicking an input routing option If you select n12 n8 REC the REC bus signals will be input to the corresponding audio track Cubase 4 Project Untitled1 D g EEE tl Ze Touch Fader 100 ms mgl i Audio 01 qs H m
55. VER red 3 dB amber 14 dB amber 48 dB green n12 Pre fader Post fader n8 Only pre fader WET Switch WET ON OFF n8 n12 Owner s Manual 205 Espanol Appendix 2TR IN LEVEL Control to 6 dB to STEREO bus 0 dB to C R To C R OUT STEREO bus ANSIA ONOFF AD Converter 24 bit linear Enhanced dual bit delta sigma conversion ST OUT STEREO Fader n12 oto 10 dB Outputs CH1 12 2TR IN DAW ng Ned Ea REVERB RETURN signals STEREO ON Switch ON OFF STEREO BAL Control 128 resolution DA Converter 24 bit linear 128 times oversampling advanced multi bit delta sigma conversion C R OUT The BASS MANAGEMENT function works in the surround sound system Only n12 CONTROL ROOM LEVEL Control to 0 dB C R SPEALKER SELECT Switch n12 A L R B C SW C LS RS Brackets indicate sources when 5 1 is selected as C R SOURCE SELECT C R SOURCE SELECT Switch n12 5 1 DAW STEREO bus AUX bus 2TR IN n8 DAW STEREO bus AUX bus 2TR IN DOWN MIX Switch n12 ON OFF Active when 5 1 is selected as C R SOURCE SELECT DIMMER Switch ON OFF UTE Switch ON OFF TALKBACK Switch n12 ON OFF TALK BACK LEVEL Control n12 co to 6 dB Sensitivity 40 dB PFL Switch ON SOLO Pre fader OFF SOLO Post fader DA Converter 24 bit linear 128 times oversampling Advanced multi bit delta sigma conversion AUX OUT Only n12 Outputs CH1 12
56. YPE Is e Ni mva ouo Level ne wa Y 034318 i g g Ma j em t ben H INO IS Z i S 03 puege dei Ww A u mawa Ivan ei TIT E NY mei 81 wei Tesi ino ege 193138 LNdNI 8 1H09 9 SHO gu eve nape va TN 21 61 uno 193510 ZL LIHO ROL 6HI iZ 1015 DENKS dapepaid oi pax qu DEI 7 038315 pzi uonenuany pax gu yos gf 3 10 MN Q 1 934 10108 x Ki Kl no mwa gu Het ino ma 3 1938 q BAM 0108 ZEES Am gegen cri iti any E222 1 2 NI Ma He no Mya 2282 S P INYA HdHOW NEE Y 034I1S De o c i SIG g g Quo om A61 ino mva Se be ES ma ee for Al mo i y e 03 puege ano9 E ran 1 NO i nen Uo HAW omas L3 Dau epi HO NO x AdH zem QV on Lasni 1934 uogonpau weg i 08 Auo g H9 gu NIMM te uno Loga WA 193135 NANI ARLES sna on Da inn TEA EE RR BB yy 88 A V INNI 5 5 88 BB s U RESA TONER t gt ss 89 SR n napog ngpoi 8 1 100 193810 me feet PS Y maul bm su i leido Ju no wegen War 13437 HaSV Im uaes ANANI ONON gt on woon 91 1 Lno MYO Np 00 ys buz y s naq 1MdNI DOTVNV n8 n12 Owner s Manual 210 MIDI Implementation Chart YAMAHA DIGITAL MIXING STUDIO Date 5 Oct 2006 Model n8 12 MIDI Implementation Chart Version 1 0 Function Transmitted Recognized Remarks Basic Default x x Channel Changed x x Mode Default x
57. a 20 dBu 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 40 dBu 60 dBu CO 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 O DE X too low appropriate level inputsignal sFr 252257 nn gain too high control Output signal Balanced or Unbalanced 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 English Microphone Use balanced lines Short line level runs Unbalanced lines are fine Long line level runs 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
58. alz Javier Rojo G mez 1149 Col Guadalupe del Moral C P 09300 M xico D F M xico Te 1 55 5804 0600 BRAZIL Yamaha Musical do Brasil Ltda Rua Joaquim Floriano 913 4 andar Itaim Bibi CEP 04534 013 Sao Paulo SP BRAZIL Te 1 011 3704 1377 ARGENTINA Yamaha Music Latin America S A Sucursal de Argentina Viamonte 1145 Piso2 B 1053 Buenos Aires Argentina Te 1 1 4371 7021 PANAMA AND OTHER LATIN AMERICAN COUNTRIES CARIBBEAN COUNTRIES Yamaha Music Latin America S A Torre Banco General Piso 7 Urbanizaci n Marbella Calle 47 y Aquilino de la Guardia Ciudad de Panam Panam Te 1 507 269 5311 EUROPE THE UNITED KINGDOM Yamaha Kemble Music U K Ltd Sh erbourne Drive Tilbrook Milton Keynes MK7 8BL England Te 01908 366700 IRELAND Danfay Ltd 61D Sallynoggin Road Dun Laoghaire Co Dublin Te 01 2859177 GERMANY Yamaha Music Central Europe GmbH Siemensstra e 22 34 25462 Rellingen Germany Te 04101 3030 SWITZERLAND LIECHTENSTEIN Yamaha Music Central Europe GmbH Branch Switzerland Seefeldstrasse 94 8008 Z rich Switzerland Tel 01 383 3990 AUSTRIA Yamaha Music Central Europe GmbH Branch Austria Schleiergasse 20 A 1100 Wien Austria Tel 01 60203900 CZECH REPUBLIC SLOVAKIA HUNGARY SLOVENIA Yamaha Music Central Europe GmbH Branch Austria CEE Department Schleiergasse 20 A 1100 Wien Austria Tel 01 602039025 POLAND
59. and off the Monitor Remote function that enables you to process the input channel and REC bus signals via the VST effects and monitor them When the switch is turned on the switch will light up the input channel WET switches page 15 the MONITOR REMOTE REC BUS WET switch and other switches become available MONITOR REMOTE REC BUS WET switch This switch determines whether or not the REC bus monitor signal will be processed via the Monitor Remote function When the mixer is linked with Cubase turn this switch on the switch indicator lights up to monitor a REC bus signal that has been processed within Cubase by VST effects etc NOTE D e To use the Monitor Remote function turn on the MONITOR REMOTE ON switch the switch LED will light up To monitor an effect signal that has been processed by the VST effects you must turn on the Record Enable button for the destination audio track in Cubase Front and Rear Panels NEXT REC v READY CLICK REMOTE ON switch This switch remotely turns on and off the metronome click sound in Cubase If you turn the metronome ON in Cubase this switch will reflect the setting CLICK LEVEL control This control adjusts the volume level of the Cubase metronome click sound Turning the knob cl
60. ate levels E The sound is distorted Make sure that audio was recorded at an appropriate level E Noise is heard in the computer audio The IEEE 1394 cable may be damaged Cables that do not satisfy IEEE1394 8400 standards may cause noise Make sure your computer satisfies the system requirements Make sure that the latency setting of the driver is appropriate Make sure that the sample rate is appropriate A high sample rate may be the cause of noise depending on the computer s capacity and speed e f your computer s hard disk is slow problems may occur during recording and playback e Try increasing the computer s memory capacity Quit all applications that are running in the background such as virus scan software when you use the n8 n12 with the computer If such software is running driver operation may become unstable and create noise e Some Intel mobile CPUs feature SpeedStepTM technology If you are using the n8 n12 along with such a computer disable the SoeedStep technology function Most computers allow you to disable this in the BIOS For more information refer to the owner s manual for the computer or contact the manufacturer of the computer e Some network adaptors can cause noise In such a case use the Device Manager to disable the suspected network adaptor to remove the noise B The CUBASE READY indicator does not turn on Cubase cannot be remotely controlled Make sure that the
61. bus or AUX bus output Bi Soloing a pre fader signal To solo a pre fader channel signal turn on the PFL Pre Fader Listen switch in the Master Control section then turn on the desired input channel SOLO switch This technique is useful when you want to monitor the channel signal without raising the channel fader If the sound seems distorted you can use this function to check whether the signal is already distorted before it passes through the fader INPUT CHANNEL STEREO BUS INPUT A INPUT B n8 n12 Owner s Manual Monitoring a pre fader signal may surprise you with its volume level which may be much higher than expected Check the monitoring level before you start to monitor the pre fader signal On the n12 you can use the SOLO LEVEL control in the Meter section to adjust the output level of the solo bus Using the n8 n12 with Cubase 4 Cubase Studio 4 Cubase Al 4 Using the n8 n12 with Cubase 4 Cubase Studio 4 Cubase Al 4 The n8 n12 features a special function that enables you to link the n8 n12 with Cubase Using this function you can seamlessly synchronize mixer operation with Cubase and record and mixdown with tremendous efficiency As an example this section describes using Cubase 4 with the Link function NOTE f You must have Cubase 4 Cubase Studio 4 or Cubase Al 4 to use the Link function Cubase SX3 and any previous version are not compatible with this feature Nuendo is n
62. ch does not change computer s CPU meter indicates a heavy the output destination of Cubase audio tracks processing load Playback response is delayed e Make sure that the CUBASE READY indicator is lit Make sure that your computer satisfies the system If it is not lit refer to the section The CUBASE als READY indicator does not turn on above Try increasing the latency value e Cubase projects must have an audio bus or track to be monitored Create a bus or track manually or use an n8 n12 project template see page 34 B The WET switch does not respond Cannot monitor wet effect signals e Make sure that the CUBASE READY indicator is lit If it is not lit refer to the section The CUBASE READY indicator does not turn on above e Cubase projects must have an audio bus or track E Cannot change driver settings such as sample rate Cannot disable the driver e If any application that uses n Driver is running quit the application then try to change the driver settings e Could the driver have been selected as the default device for Windows Make the settings described below and then restart your computer 1 From the Start menu select Settings Control Panel Sounds and Audio E Cannot find a n8 n12 project template e Make sure that the Extensions for Steinberg DAW software has been installed e If you install Cubase after you install Extensions for Steinberg DAW the project template file
63. commend that you use a fairly low depth setting for the compressor B Enriches the decay of the sound Emphasizes the attack of the sound A good choice for drums or guitar Slightly squashes the attack making the attack more consistent Squashes the sound to make the volume constant E Depending on the input signal the sound may distort When applied to drums this can produce a sound that is typical of British rock of the 60 s E Want to tweak the compression Use the DRIVE control to adjust the degree of compression As you rotate the control clockwise additional compression is applied and the output level is automatically adjusted according to the degree of compression You do not need to be a high tech wizard to control this compressor At a setting of 0 no compression is applied When an input signal level exceeds a specified level and the compressor is triggered the corresponding input channel COMP LED lights up While listening carefully adjust the sound to your taste INPUT SELECT How a compressor works A compressor suppresses the input signal peaks and raises the overall sound pressure level to increase the body of the sound When an input signal level exceeds a specified threshold the compressor is triggered and compresses the signal When the signal level falls below the threshold compression is removed How quickly the signal level changes after the compre
64. corresponds to the nominal output level 0 dB AUX LEVEL control Adjusts the AUX OUT signal level page 21 The Y position corresponds to the nominal output level 0 dB NOTE While you are using the Monitor Remote function page 33 signals that pass through the DAW will be directly routed to the AUX bus O 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 O AUX PHONES control This control adjusts the output level at the AUX PHONES jack The W position corresponds to the nominal output level 0 dB C R PHONES jack This headphone jack outputs the control room signal The output level at this jack can be adjusted independently from that of the C R OUT jacks C R PHONES control This control adjusts the output level at the C R PHONES jack The W position corresponds to the nominal output level 0 dB Front and Rear Panels n8 3 EH LLL YAMAHA LL In CUBASE READY indicator English kW CUBASE This indicator lights up when the mixer is ready to be operated with Cubase 4 Cubase Studio 4 Cubase Al 4 that is when the computer is connected to the n8 n12 and Cubase is linked to the mixer correctly MASTER LEVEL METER B n12 This meter indicates the level of the STEREO REC
65. cy turn the MID frequency control If you are connecting an electric guitar or electric m counter clockwise At the center position the center bass that has passive type pickups and no built in preamp directly to the INPUT B jack of input channel frequency S 1 0 KMZ 8 on the n12 or input channel 4 on the n8 turn The following table shows the EQ type center frequency this switch on and maximum cut boost for each of the three bands Use an unbalanced cable when you connect an electric Maximum nuli guitar or bass and turn the Hi Z switch on If you use a Band Type Center Frequency Cut Boost balanced cable the mixer will not work correctly HIGH shelving 10 kHz 18 dB INPUT SELECT switch This switch determines whether the input jack signal MID peaking 100 Hz 10 kHz 18 dB A IN or the DAW signal the output from Cubase or LOW shelving 90 Hz 18 dB another DAW will be routed to the input channels REVERB control This control adjusts the level of the input channel signal sent to the internal digital reverb i e determines how much reverb will be applied When you set the knob to the W position the input channel signal at the nominal level 0 dB will be sent to the internal digital reverb Compressor controls These compressor controls enable you to operate the compressor for each monaural input channe channels 1 4 on the n8 and channels 1 8 on the n12 The following
66. d Yamaha service personnel about replacing defective components The illustrations and LC D screens as shown in this owner s manual are for instructional purposes only and may appear somewhat different from those on your instrument This product incorporates and bundles computer programs and contents in which Yamaha owns copyrights or with respect to which it has license to use others copyrights Such copyrighted materi als include without limitation all computer software music data etc Any unauthorized use of such programs and contents outside of personal use is not permitted under relevant laws Any violation of copyright has legal consequences DON T MAKE DISTRIBUTE OR USE ILLEGAL COPIES Copying of the commercially available musical data including but not limited to MIDI data and or audio data is strictly prohibited except for your personal use e Windows is the registered trademarks of Microsoft R Corporation e Steinberg and Cubase are the registered trademarks of Steinberg Media Technologies GmbH e The company names and product names in this Owner s Manual are the trademarks or registered trademarks of their respective companies 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 Al 4 Connecting a co
67. ear Panels Front and Rear Panels Channel Control section GAIN control This control adjusts the input signal level from the input jacks sensitivity The adjustable range on each monaural channel varies depending on the on off status of the PAD switch Monaural input channel PAD switch is The level can be adjusted between ON n 34 dB and 10 dB English PAD switch is The level can be adjusted between off Ii 60 dB and 16 dB PAD RO PHASE Gi H z AN 4 ano D Gi HS Stereo input channel AWO AWO ya INPUT SELECT INPUT SELECT INPUT SELECT O come Zomme The level can be adjusted between 26 dB and 4 dB MORPH c MORPH apen le 86 SWEET To achieve a quality sound with a good S N ratio and a wide dynamic range set this control as high as possible without allowing the OVER LED see page 15 to light PAD switch This switch turns each channel pad on and off When it is turned on the input signal from the input jacks is attenuated by 26 dB Turn the switch off m when you connect a microphone or other device with a low input level to the corresponding monaural channel Turn it on when you connect a synthesizer or other line level instruments 80 swi
68. eed to re set this setting each time e Please refer to the Cubase Operation Guide for more information on setting up Cubase parameters e f you plan to remotely control Cubase from another DAW exclude the MIDI port for n8 n12 remote control from the MIDI inputs Select File Preferences to access the Preferences dialog box From Editing select Project amp 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 Editing Project amp Mixer Verify that PETERSEN Ao Track Color Mode SC TS Sync Eich Mixer Select this is checked pianali Enable Record on Selected Track ini Appearance Editing Project amp Mixer General Meters sse revious Track Auto Tack Color Mode Work Area 2 Eding EZ Sync Project and Mixer Selection Audo Enable Record on Selected Track Controls MIDI Enable Solo on Selected Track BR Deep Track Folding Mies Wl Enlarge Selected Track ideo Event Display Select Channel Track on Solo im MI Select Channel Track on Edi Settings Makere ire Rulers Video General MIDI MIDI Fiel ken MIDI Fil Cu MediaBay n Record vi GA Preference Presets El m J Rename Delete Il Store marked preferences only mer Goes Ha NL oJ corcar LU Work Area
69. engineers If your computer is connected to the n8 n12 you can replace the Sweet Spot data if desired NOTE D For more information on updating Sweet Spot data please refer to page 48 E Which compressor setting suits you Rotate the compressor s MORPH control to select one of the Sweet Spot settings These Sweet Spot settings A E contain different compressor presets Sweet Spot data created by famous sound engineers Select one and the corresponding preset data will be recalled Sweet Spot C INPUT SELECT MORPH 1 Sweet Spot P 1 4 Zi _ Sweet Spot D D 8 1 SA A Sweet Spot A ee Sweet Spot E o 10 If you set the MORPH control to a position between two Sweet Spot settings the compressor will use data from between those settings For example if you set the control to halfway between Sweet Spots A and B the compressor will apply the values that correspond to exactly halfway between the values for Sweet Spots A and B As you rotate the control toward the Sweet Spot B position the values will become closer to those of Sweet Spot B In this way you can set the compressor on the n8 n12 more intuitively using Sweet Spot data q Hj ar A B 50 B C 50 C D 50 D E 50 A 100 B 100 C 100 D 100 E 100 When shipped from the factory Sweet Spots A E use the following settings n8 n12 Owner s Manual Natural sounding compression that makes the A sound smoother We re
70. er section to POST WET switch This switch determines whether or not the input channel monitor signal will be processed via the Monitor Remote function If you turn this switch on the LED lights up while Cubase and the mixer are linked and operating together you can monitor a wet signal an input signal that has been processed via the VST or other effects NOTE While this switch is turned on the AUX control for the corresponding input channel will be disabled e To use the Monitor Remote function you must turn on the MONITOR REMOTE ON switch page 19 the switch LED will light up REC switch and ST switch These switches route the signal to the specified buses Turn the ST switch on the LED lights up to route the channel signal to the stereo L R buses Turn the REC switch on to route the channel signal to the REC L R buses Front and Rear Panels Tip for compensating for the phase offset When you are recording a single instrument using multiple microphones the position and the distance between the instrument and microphones may cause the phase of each recorded signal to be offset against each other out of phase If you try to mix such signals the signals will interfere with each other resulting in a thin sound For example if you record the sound of a guitar amplifier by placing microphones in front of and behind it in order to capture the resonance of the cabinet the microphone
71. everberation to output from Cubase or another DAW as well as to microphone and other instrumental sounds Included items please check Power adaptor n12 PA 30 n8 PA 20 TOOLS for n CD ROM May not be included depending on your particular Cubase Al 4 DVD ROM area Please check with your Yamaha dealer Please read the software license agreement before Owner s Manual you unseal the included discs The software license IEEE 1394 cable agreement is given at the end of the TOOLS for n TOOLS for n Cubase Al 4 installation guide Cubase AI 4 installation guide n8 n12 Owner s Manual Table of Contents Welcome SERRE RRR REE RRR ee 6 Features L l 6 Included items please check 6 Turning On and Off the Power to the Mixer III 8 Before Turning On the Power to the Mixer 8 Turning the Power On and Off 8 Recording Basics EEEEEEEEEEEEEEEEEEENEEEEEENE 9 Techie Words Don t Be Afraid 9 Signals Level and Decibel 9 Balanced or Unbalanced 9 How balanced lines work 9 How unbalanced lines work 10 Connector Variations eee testet t 10 Phone connectors eeeeeeeeceeeceeceeeeueeeneeees 10 RCA pin connectors waa aa 10 Inside Your Mixer ii 11 Basic Structure iii 11 Monitor mix for musicians external effects
72. f the software and necessary driver have already been installed and the initial settings have been made the setup sequence automatically starts During the setup the driver icon will flash Wait until the icon is lit up steadily A Caution While the driver icon is flashing the computer checks to determine whether an IEEE 1394 device is connected Do NOT turn off or on the power to any connected IEEE 1394 device or disconnect or connect any IEEE1394 cable while the driver icon is flashing NOTE N f the message Failed to connect n8 n12 Do you wish to retry appears click Yes to try again If the same message appears again restart the computer and resume from the beginning If you are still unable to connect execute RESET ALL When you connect the n8 n12 to a computer for the first time the system displays a message indicating that connection setup is in progress mLAN Connection Manager 5 Connecting n12 Do not power off on to the device or disconnect connect an IEEE1394 cable 3 Select Sample Rate from the driver icon s 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 Please refer to the TOOLS for n Installation Guide for information regarding which sample rate you should choose mLAN Connection Manager Sample Rate 44 1kHz v Cancel After you select a sample rate click OK to close the
73. flash STEREO BAL control This control adjusts the left and right volume balance of the stereo channels STEREO L R O PFL Pre Fader Listen switch If you want to monitor pre fader input channel signals when you are using the Solo function turn this switch on m NOTE N While this switch is turned on if you also turn the SOLO switch on the monitor signal volume may become very loud In this case use the SOLO LEVEL control page 17 to adjust the monitoring volume level The monitoring volume level of the n8 is always attenuated by 12 dB Q STEREO ON switch This switch turns on and off the signal output from the ST OUT jacks When the switch is on the signal is output from the ST OUT jacks STEREO fader This fader adjusts the level of the signal output from the ST OUT jacks The O position corresponds to the nominal output level 0 dB Meter section MN gt aux Microphone This is a built in talkback microphone SOLO LEVEL control This control adjusts the SOLO L R bus output level The adjustable range is from e to 6 dB The Y position corresponds to the nominal output level 0 dB 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 W position
74. he instruments press the BI switch to stop recording 13 To review the recorded result press the lt switch or I lt switch to return to the beginning of the project then press the gt switch Using the n8 n12 with Cubase 4 Cubase Studio 4 Cubase Al 4 Recording n8 n12 input channel signals directly to Cubase Each input channel signal can be output and recorded to a Cubase audio track individually This section will help you understand how to record a signal from input channel 1 directly to a Cubase audio track while using the Monitor Remote function to monitor the VST effect signals INPUT CHANNEL audio track INPUT A The pre fader signal will be sent to the audio track When using this method of recording n8 n12 input channel signals directly to Cubase the channel fader and other channel controls will be disabled NOTE If you select the Yamaha n12 n8 multi channel recording project template the direct output from the input channel will be automatically selected as the input source for each Cubase audio track E Preparing for recording 1 Make sure that the INPUT SELECT A IN switch is turned on analog input 2 Connect a musical instrument or a microphone to the mixer s input channel 1 then adjust the gain 3 Select an audio track on which you wish to record the signal then select n12 n8 Dir1 for input routing by clicking it The input source and output destina
75. he internal digital reverb The W position corresponds to the nominal level 0 dB TO AUXJ TO REC TO ST switches These switches route the output signal from the internal digital reverb to the AUX REC or STEREO buses Turn the desired switch on to route the output from the internal digital reverb to the desired buses 2TR TO ST section This section enables you to adjust the level of and route the signal input from the 2TR IN jacks page 20 LEVEL control Adjusts the level of the signal input from the 2TR IN jacks The W position corresponds to the nominal level 0 dB ON switch This switch determines whether the 2TR IN signal will be sent to the STEREO buses When the switch is turned on the 2TR IN signal is sent to the stereo buses DAW TO ST section This section enables you to adjust the level of and route the stereo signal transmitted from the DAW DAW IN 1 2 LEVEL control This control adjusts the level of the stereo DAW signal to the STEREO buses The knob set to the W position corresponds to the nominal level 0 dB ON switch This switch determines whether the stereo output signal from the DAW will be routed to the STEREO buses When the switch is turned on the stereo output from the DAW will be sent to the mixer s STEREO buses NOTE If you turn on the C R SOURCE SELECT 5 1 switch the DAW TO ST ON switch will be disabled the switch indicator will
76. her application supports the surround environment AUX BUS n8 n12 INPUT CHANNEL Before you can begin switching Work modes you must first create I O buses in Cubase so that audio data can be transferred between Cubase and the n8 n12 If you create a project using one of the n8 n12 project templates the I O buses will be created automatically If you wish to use Work mode create Anew project romoncot the To transfer signals to the n8 n12 AUX buses from project templates If you plan to create I O buses manually refer to the Appendix for information on Cubase n12 n8 AUX L R must be assigned to the how to set up the buses device audio port for the output buses that are assigned to the Cubase audio track sends The AUX T PHONE i ts in th 12 ject t Setting upa musician s monitor en s in the n8 n12 project templates are as If the Work mode on the n8 n12 is set to ST MIX i Cubase audio tracks will be mixed in the Cubase Output bus n12 n8 AUX mixer then output to the n8 n12 If necessary you Device Audio port n12 n8 AUX L R can make another audio track mix independent from the main mix the mix output to the n8 n12 This You can adjust the volume of the entire monitoring independent mix can be used as a musician s signal either in Cubase or on the n8 n12 monitor You can use the following controls to adjust the To create a musician
77. input output bus assignment to the device ports in Cubase Cubase Output Cubase Input n12 Input n12 Output Output Bus Device Port Device Port Input Bus n12 L R n12 5 1 n12 Monitor L DAW TO ST L 5 1 L CH1 Direct Ou n12 Direct Out 1 n12 Dir1 n12 Monitor R DAW TO ST R 5 1 R CH2 Direct Ou n12 Direct Out 2 n12 Dir2 n12 9 10 n12 Monitor 9 C Input Channel 9 5 1 C CH3 Direct Ou n12 Direct Out 3 n12 Dir3 n12 Monitor 10 LFE Input Channel 10 5 1 LFE CH4 Direct Ou n12 Direct Out 4 n12 Dir4 n12 11 12 n12 Monitor 11 Ls Input Channel 11 5 1 Ls CH5 Direct Ou n12 Direct Out 5 n12 Dir5 lt n12 Monitor 12 Rs Input Channel 12 5 1 Rs CH6 Direct Ou n12 Direct Out 6 n12 Dir6 2 n12 1 n12 input 1 Input Channel 1 CH7 Direct Ou n12 Direct Out 7 n12 Dir7 ey n12 2 n12 input 2 Input Channel 2 CH8 Direct Ou n12 Direct Out 8 n12 Dir8 ec n12 3 n12 input 3 Input Channel 3 CH9 Direct Ou n12 Direct Out 9 n12 Dir9 10 AJ n12 4 n12 input 4 Input Channel 4 CH10 Direct Out n12 Direct Out 10 n12 5 n12 input 5 Input Channel 5 CH11 Direc
78. k If you want to continue recording proceed to Step 9 Cubase 4 Project Untitled1 LA TER 7 CO DEREN Aore Audio 01 Audio 02 0 00 Audio 03 0 00 Audio 04 n12 Dir1 n8 n12 Owner s Manual English 41 Using the n8 n12 with Cubase 4 Cubase Studio 4 Cubase Al 4 ll Setting the Monitor Remote function If you wish to apply a VST effect to the input channel 1 signal and monitor the effect signal follow steps 6 to 8 below 5 Insert the desired VST effect in the Cubase input bus to which input channel 1 is being sent or insert it into the audio track 6 Turn the MONITOR REMOTE ON switch on the switch LED lights up When the MONITOR REMOTE ON switch is on the Monitor Remote function is enabled 7 Turn the input channel 1 WET switch on the LED will light If you are recording the direct output from the input channel you can use the WET switch to control the monitoring button for the Cubase audio track to which that input channel is being sent If this switch is on the monitor button of the destination audio track will be enabled allowing you to monitor the signal processed by the VST effect the wet sound Cubase 4 Project Untitled1 D e gt amp tg t J Touch Fader 100 ms Audio 01 O El 0 00 monitoring button If the input channel signal had been routed to the STEREO bus the input channel signal being sent to Cubase will temporarily be disconnected fr
79. kifan HF Skeifan 17 P O Box 8120 IS 128 Reykjavik Iceland Tel 525 5000 OTHER EUROPEAN COUNTRIES Yamaha Music Central Europe GmbH Siemensstra e 22 34 25462 Rellingen Germany Tel 49 4101 3030 ASIA THE PEOPLE S REPUBLIC OF CHINA Yamaha Music amp Electronics China Co Ltd 25 F United Plaza 1468 Nanjing Road West Jingan Shanghai China Tel 021 6247 2211 HONG KONG Tom Lee Music Co Ltd 11 F Silvercord Tower 1 30 Canton Road Tsimshatsui Kowloon Hong Kong Tel 2737 7688 INDONESIA PT Yamaha Music Indonesia Distributor PT Nusantik Gedung Yamaha Music Center Jalan Jend Gatot Subroto Kav 4 Jakarta 12930 Indonesia Tel 21 520 2577 KOREA Yamaha Music Korea Ltd 8F 9F Dongsung Bldg 158 9 Samsung Dong Kangnam Gu Seoul Korea Tel 080 004 0022 MALAYSIA Yamaha Music Malaysia Sdn Bhd Lot 8 Jalan Perbandaran 47301 Kelana Jaya Petaling Jaya Selangor Malaysia Tel 3 78030900 PHILIPPINES Yupangco Music Corporation 339 Gil J Puyat Avenue P O Box 885 MCPO Makati Metro Manila Philippines Tel 819 7551 SINGAPORE Yamaha Music Asia Pte Ltd 03 11 A Z Building 140 Paya Lebor Road Singapore 409015 Tel 747 4374 TAIWAN Yamaha KHS Music Co Ltd 3F 6 Sec 2 Nan Jing E Rd Taipei Taiwan 104 R O C Tel 02 2511 8688 THAILAND Siam Music Yamaha Co Ltd 891 1 Siam Motors Building 15 16 floor Rama road Wangmai Pathumwan Bangkok 10330 Thailand Tel 02
80. kwise the range will be cut When the control is set to the W position that frequency range will not be boosted or cut i e its response will be flat Boosting the signal too much using the equalizer will add gain to the signal increasing noise and potentially overloading the circuitry and distorting the sound In this case step back and make sure that you have not boosted too much with EQ remember less is more and lower the gain if necessary A Hands On Guide to the n8 n12 B Adjusting the mid band center frequency The mid band equalizer enables you to adjust the center frequency at which the sound will be boosted or cut This is useful when you want to adjust the boost cut frequency ranges to accommodate a snare drum pitch or vocal tone To adjust this center frequency use the MID frequency control As you rotate the control clockwise the center frequency is raised and as you rotate the control counter clockwise the center frequency is lowered When the control is set to the W position the center frequency will be 1 0 KHz HIC English MII Lo Before you adjust the center frequency it is a good idea to boost the signal by raising the gain of the mid band equalizer In this way you can easily hear and verify the frequency that you are selecting When you finish adjusting the frequency re adjust the mid band GAIN control to your taste MID frequency control boosted signa
81. l e Make sure that the speakers or headphones are connected correctly e Make sure that the power to your amplifier and other external devices is turned on e Make sure that the volume between monitor speakers is well balanced B Sound is distorted e The cable that connects the mixer and the external device may be damaged e The gain must be set to an appropriate level e If high level signals are being input the corresponding channel PAD switches must be turned on e The Drive control for the compressor may be set excessively high Set the control to an appropriate level e The EQ gain may be set excessively high Set the control to an appropriate level e The faders for an input channel stereo input channel or stereo output channel may be raised excessively Set all faders to an appropriate level B Noise e There may be a noise producing device such as a device containing a power inverter etc near the cables Move all cables away from any possible sources of noise B Cannot use the built in digital reverb e Be sure to adjust the input channel REVERB control to send the signal to the built in digital reverb e Make sure that the output from the digital reverb is appropriately assigned e The REVERB LEVEL control must not be set to O While using the mixer with a computer E No sound is heard or the sound is too faint e The volume settings within your application must be set to appropri
82. l e f this device or the AC power adaptor should be dropped or damaged immediately turn off the power switch disconnect the electric plug from the outlet and have the device inspected by qualified Yamaha service personnel Always follow the basic precautions listed below to avoid the possibility of physical injury to you or others or damage to the device or other property These precautions include but are not limited to the following Power supply Power cord e Remove the electric plug from the outlet when the device is not to be used for extended periods of time or during electrical storms e When removing the electric plug from the device or an outlet always hold the plug itself and not the cord Pulling by the cord can damage it e To avoid generating unwanted noise make sure there is adequate distance between the AC power adaptor and the device e Do not cover or wrap the AC power adaptor with a cloth or blanket e Before moving the device remove all connected cables e When setting up the device make sure that the AC outlet you are using is easily accessible If some trouble or malfunction occurs immediately turn off the power switch and disconnect the plug from the outlet e Avoid setting all equalizer controls and faders to their maximum Depending on the condition of the connected devices doing so may cause feedback and may damage the speakers e Do not expose the device to excessive dust or vibrations
83. l ESPRESSE 1 0kHz 10 0kHz CENTER FREQUENCY Hz n8 n12 Owner s Manual 29 A Hands On Guide to the n8 n12 Panning and balancing Pan is derived from panorama and is related to the concept of a stereo image Panning creates the illusion of stereo space by changing the relative levels of each track s signal sent to the left and right speakers If a signal is sent to only the left speaker the sound will seem to come from the far left side of the stereo sound field Thus we feel as though the instrument is being played on the left side If a signal is sent at equal levels to both left and right speakers our ears will tell us that the sound is located in the center of the stage Not only does the way you pan your individual channels determine where the instruments seem to appear in the stereo sound field but it is also vital to give each instrument its own space so that it does not conflict with other instruments After you finish shaping the tone of each instrument set the stereo image for each channel and balance the overall sound Sometimes you may want to deliberately pan sounds close together or even right on top of each other to emphasize their relationship There are no hard and fast rules A good tip is to pan low range instruments and any parts that are very important to the song to the center meanwhile pan other instruments left and right as symmetrically as possible Normal
84. l level is too high for the head amp or compressor equalizer to handle the sound will clip and be distorted An input channel level meter enables you to monitor this signal level Some mixers feature a channel peak LED that indicates only the peak level If the input signal is overloaded adjust the head amp gain control Most mixers have multiple level meters including the indicators It is important to know the mixer stage for which the meters are indicating signal levels 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 sig Thi nal s control is most often used during mixing O Bus Input channel signals are routed to buses mixed together there then output in stereo master Buses English bus oooooo00 212250 are categorized into a purpose stereo bus for stereo mix AUX bus for AUX send etc Using the appropriate buses is one of the keys to basic mixing ew types based on their The n8 n12 features the following buses e STEREO bus L R e AUX bus L R e REC bus L R e REV e SOL ERB bus L R O bus L R aster section G Stereo master fader The master section enables you to adjust the level of sig nals routed from buses Use a stereo master fader to adjust the level of the mixer s main outp
85. l or on line help for the software application 6 Turn on the C R SOURCE SELECT 5 1 switch on the n12 to adjust the monitoring level for the control room NOTE D If you are using Windows Media Player you must purchase a surround decode plug in For more information regarding purchasing and setting the decode plug in contact the manufacturer of the software you are using Troubleshooting Troubleshooting While using the mixer El No sound is heard or the sound is too faint e The cable that connects the mixer and the external device may be damaged e Make sure that a signal from an external device or the DAW is being sent to the n8 n12 s input e The volume of all connected tone generators and playback devices must be set to an appropriate level e The gain must be set to an appropriate level e f you are connecting a condenser microphone the Phantom 48V switch must be turned on e f you are connecting an electric guitar make sure that it is connected to an input jack that supports Hi Z and that the Hi Z switch is turned on e Make sure that the INSERT I O connectors are connected properly e Make sure that each channel ON switch is turned on e s the ST switch of each channel turned on assignment to the STEREO bus enabled e Each input channel fader must be raised to an appropriate level e The CONTROL ROOM LEVEL knob and the C R PHONES knob must be set to an appropriate leve
86. 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 noise A 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 n8 n12 Owner s Manual 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 bet
87. ly but this is not a rule lead vocal solo instruments bass bass drum and snare drums will be panned to the center E Panning a monaural track Pan a monaural input channel signal by turning the PAN control Rotating the control clockwise raises the ratio of signal sent to the R bus Rotating the control counter clockwise raises the ratio of signal sent to the L bus JE INPUT CHANNEL MONO 3 28 INPUT A 565 to t5 INPUT B Y B Adjusting the stereo track balance Adjust the left and right volume balance of stereo channels The odd channel signal will be sent to the L bus and the even channel signal to the R bus INPUT CHANNEL STEREO STEREO BUS L STEREO BUS R BALANCE NOTE When you are using the n8 n12 as a live SR mixer if you pan the signals or set the stereo balance hard left or hard right the mix may not sound well balanced to an audience sitting close to the left or right speakers Use pan and balance with caution because mixes will sound different in live SR environments and recording environments n8 n12 Owner s Manual Mixing into stereo Now it is time to mix Adjust the volume balance between the input channels and mix all channels into the stereo bus The mixed signals will be output from the ST OUT jacks and monitored through the Control Room section 1 Lower all channel faders all the way down It is usually a good idea to start with all channel faders off It is also
88. mputer to the mixer s IEEE 1394 port enables you to configure an ideal recording environment Please read this Owner s Manual before you start using the n8 n12 so that you can take full advantage of the mixer s superlative features and enjoy trouble free operation for years to come Also keep this book in a safe place for future reference Ease of operation Analog like mixing interface ensures intuitive operation High quality sound Based on an examination of existing head amp circuits anew 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 Al 4 does not support surround Link with
89. n will be enabled NOTE j The talkback signal will be sent to the AUX outputs AUX PHONES jack and AUX OUT jacks 18 ns n12 Owner s Manual DAW Remote Control section n12 DAW REMOTE CONTROL BEEN HARDWARE LI o ON WET ON FD m o CLICK LEVEL 6 7 NOTE N All switches in this section are enabled only when the n8 n12 is connected to the computer via an IEEE1394 cable and the mixer s operation is linked to Cubase 4 Cubase Studio 4 Cubase Al 4 For more information on the Cubase Link function please refer to page 33 WORK MODE switches These switches enable you to change the connection status between the n8 n12 and Cubase all at once The following connection settings Work modes can be selected depending on your needs Pressing each switch changes I O settings and bus assignments Enables you to monitor on the n8 n12 the ST MIX stereo signal mixed in the Cubase mixer and output from the DAW Enables you to output Cubase audio HARDWARE tracks individually to the n8 n12 then mix MIX them on the n8 n12 5 1 MIX Enables you to create a 5 1 ch Only N12 surround mix in Cubase 4 NOTEN For information on operations in each Work mode please refer to page 37 MONITOR REMOTE ON switch This switch turns on
90. n another function to the foot switch from the DAW To remotely control your DAW from the n8 n12 make the following settings in the DAW Type of remote controller Mackie Control MIDI ports used for connecting the remote controller Input mLAN MIDI In Output mLAN MIDI Out n8 n12 Owner s Manual 49 Using the n8 n12 with Software Other Than Cubase 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 Sounds and Audio Devices Properties Volume Sounds Audio Voice Hardware O SoundMAX Digital Audio Device volume O Low C Mute O Place volume icon in the taskbar Speaker settings Use the settings below to change individual speaker volume and other settings Speaker Yolume Advanced Click the Audio tab in the dialog then select mLAN Audio Out as the Default device for the Sound Playback column Sounds and Audio Devices Properties PR Volume Sounds Audio Voice Hardware Sound playback Default device 9 let AN Audio Dut i vi Volume Advanced Sound recording Default device 1 SigmaTel Audio Volume MIDI music playback Fia Default device mLAN M
91. n12 peripheral devices 2 For each channel connection connect one end of the cable to the relevant microphone or instrument and securely connect the other end to the appropriate input jack on the mixer n12 Setup Example Home recording microphones synthesizer rhythm machine sound source CD MD DAT etc o o 0 i MIDI cable MIDI cable e AC POWER Al APT menos roor sv YAMAHA ios IEEE 1394 cable JOB 8 rnal effects unit OHE 364 rnal effects unit player s monitor YAMAHA u control room headphones monitor system computer n8 n12 Owner s Manual Setting Up the Mixer n8 Setup Example Home recording synthesizer rhythm machine microphones GE o m E Il MIDI cable
92. nals that fall below a certain frequency When an n12 n8 high pass filter is turned on signals below 80 Hz which are very low frequency components are cut This can be useful for minimizing low frequency breath noise from a vocalist as well as noise caused by handling the microphone or rumble transmitted via the microphone stand If you are connecting an electric guitar or electric bass that has passive type pickups and does not have a built in preamp connect it to input channel 8 on the n12 or input channel 4 on the n8 and press the Hi Z switch of that channel to the on position If you connect a guitar or bass to other channels use a DI box direct box or amp simulator between the instrument and the mixer am When you use condenser microphones turn the corresponding channel PHANTOM 48V switches on Adjusting the gain A gain control is used to mach the input s sensitivity to the signal from for example connected instruments or microphones The n12 n8 enables you to input two signal types analog signals from instruments or microphones connected to the rear panel and digital signals transferred from Cubase or other DAWs Here is how you select analog signals as input sources and adjust the input sensitivity INPUT CHANNEL STEREO BUS L STEREO BUS R To send a m
93. nput channel REVERB control to fine adjust the amount of digital reverb NOTE Always be careful not to apply too much reverb Too much reverb can tip the mix balance or wash out the mix and reduce the overall clarity of the stereo image n8 n12 Owner s Manual 31 32 A Hands On Guide to the n8 n12 Soloing a channel You can monitor only certain input channel signals This is called the Solo function This function is useful when you want to listen to the performance or check the sound of only certain input channel signals selected from the stereo mix The n8 n12 features a dedicated solo bus L R through which you can monitor pre fader or post fader input channels E Soloing a post fader channel signal Turn on the SOLO switch of the desired input channels the switch indicator s will light up You can turn on or off the switch for each channel individually For example you can listen to certain parts such as only bass and drums or vocal and piano by turning on the SOLO switch for multiple desired channels When the SOLO switch is turned on the monitor source for the control room will switch to the solo bus and the C R SOURCE SELECT switch indicator will flash INPUT CHANNEL STEREO BUS CHANNEL INPUT A FADER INPUT B NOTE The Solo function is effective on only the monitor signal in the control room and does not affect other output signals such as the stereo
94. o the following Power supply Power cord e Only use the voltage specified as correct for the device The required voltage is printed on the name plate of the device e Use only the included AC power adaptor PA 30 for the n12 PA 20 for the n8 or an equivalent recommended by Yamaha e Do not place the power cord near heat sources such as heaters or radiators and do not excessively bend or otherwise damage the cord place heavy objects on it or place it in a position where anyone could walk on trip over or roll anything over it Do not open e Do not open the device or attempt to disassemble the internal parts or modify them in any way The device contains no user serviceable parts If it should appear to be malfunctioning discontinue use immediately and have it inspected by qualified Yamaha service personnel N CAUTION Water warning e Do not expose the device to rain use it near water or in damp or wet conditions or place containers on it containing liquids which might spill into any openings e Never insert or remove an electric plug with wet hands If you notice any abnormality e f the power cord or plug becomes frayed or damaged or if there is a sudden loss of sound during use of the device or if any unusual smells or smoke should appear to be caused by it immediately turn off the power switch disconnect the electric plug from the outlet and have the device inspected by qualified Yamaha service personne
95. o create a monitor mix for players For players it is easier to listen to a well balanced monitor mix For example even if you raise the input channel fader for guitar during the guitar solo the fader operation does not affect the AUX bus output which remains independent of the main mix If a post fader signal is routed to the AUX buses for monitoring the fader operation will affect the balance of the monitor mix This is something that you and the players would probably like to avoid e Using AUX buses to process the signal via an external effect unit If you are using an AUX bus to send a pre fader signal to an external effect unit you can adjust the level of the input channel signal and the amount of effect separately For example if you operate the fader for the input channel signal that is sent to the effect unit the balance between the dry signal unprocessed and the wet signal processed by the effect unit will change To maintain the same balance between the dry and wet signals you must adjust the AUX send level whenever you adjust the channel fader n8 n12 Owner s Manual Bi Built in digital reverb The n8 n12 features a REVERB bus that is dedicated to the built in digital reverb This is almost identical to the AUX bus and can be used to send signals to the built in digital reverb The only difference from the AUX bus is that a post fader signal is routed to the REVERB bus Therefore the send level is affected by
96. o monitor the DAW ERA stereo output DAW IN 1 amp 2 Enables you to monitor the stereo ST switch bus signal Enables you to monitor the AUX bus AUX switch E signal Enables you to monitor the input Eien signal from the 2TR IN jacks The C R SOURCE SELECT switch indicators will tell you which monitor source is currently selected In this example press the ST switch to select the stereo bus signal as a monitor source Turn the CONTROL ROOM LEVEL control or C R PHONES conirol to adjust the monitoring level You can adjust the level of each monitor individually To adjust the monitor speaker level use the CONTROL ROOM LEVEL control To adjust the Control Room headphone level use the C R PHONES control To avoid damages to your hearing ability and or speakers during monitoring set the monitoring level rather low then re adjust the level later to suit your taste during mixing n8 n12 Owner s Manual English 25 26 A Hands On Guide to the n8 n12 3 Players want to hear what is going on Use the AUX control of the input channel that connects the instrument or microphone to adjust the output level to the AUX bus so that the corresponding player or singer can hear their part The AUX bus can be used in various ways Two common applications are 1 to create a monitor mix that is separate from the main mix and that can be used by players in a rec
97. o the following screens to remove the checkmark from the All Inputs column in the mLAN MIDI In n12 n8 Remote row MIDI MEEN Gewebe A Select MIDI Port Setup Yamaha n12 C Transport Time Display C Video vun Video Plaver MIDI Port Setup See VG rase ELIA E E Wird mLAN MDI 112 Remote Net SE mLAN MIDI In 2 n12 MIDIIN Ed mLAN MIDI In 3 mLAN MDI h 6 jet tive E mLAN MDI In D mLAN MDI h ON We E mi AN MDI In EI mLAN MDI h 6 D e I3 im Atl MIDIA 5 LAN MIDER DA VIR mi AH MIDI mi AN MDER O DA NL EE cn Video Player MLAN MIDI 8 mLAN MIT 6 C a El amp VST Audio System LAN MDI mLAN MII Out O Tra ASD mLAN mLAN MIDI OL i2 Remote E La VST System Lik MLAN MDIO ni MDLOUT ES Tech nager MLAN MDIOA mLAN MIDI Out G inset LAN MIDI OLA 0 mLAN MDI Out WI E keen MLAN MIDIOA mLAN MIDI Out I end LAN MDIO mLAN MIDI Out 6 E inet mLAN MIDI In n12 n8 Remote column Port System Name mi AN MIDI In j MEAN MIDI In mLAN MIDI In mLAN MIDI In 4 mLAN MIDI in 4 Active mLAN MIDI in mLAN MIDI in Active Remove this checkmark After removing the checkmark click OK to close the dialog box NOTE e This setting will still be effective the next time you Ta start up Cubase You do not n
98. ockwise will raise the volume and turning the knob counter clockwise will lower the volume Q TRACK CONTROL switches These switches remotely control Cubase tracks Each switch features the following function PREV A Selects the previous track the track switch one above in the track list in Cubase NEXT el Selects the next track the track one switch below in the track list in Cubase REC READY Turns on and off the Record Enable switch button for the track selected in Cubase TRANSPORT switches These switches remotely control the transport section in Cubase Each switch has the following function CYCLE switch Turns Cycle mode on and off Moves the current position to the previous marker or the beginning of the project if there is no marker in the backward direction I4 switch Adds a marker at the current ADD switch is position Moves the current position to the Let switch next marker a switch Rewind gt gt switch Fast forward B switch Stops the project playback gt switch Plays the project REC switch Records the track s whose Record Enable button is on n8 n12 Owner s Manual English 19 20 Front and Rear Panels Rear UO section n12 IM PA i paral kand YA ES Th fh ense E Ch Es oc MODEL ni2 amp wor or
99. om the STEREO bus so that it will not be doubled in the monitor sound If the WET switches for multiple input channels have been turned on turning off the MONITOR REMOTE ON switch will turn off all channel WET switches NOTE D While the Monitor Remote function is enabled the ST switch for any channel that has its WET Switch turned on will flash Disable the Monitor Remote function to return to the previous status fthe Record Enable button and monitoring button for the Cubase tracks are turned off you cannot monitor the VST effect signal In this case the channel WET switch LED will flash Processing the signals with VST effects may cause latency in the monitoring signal While the monitor remote function is active the signal with the VST effect applied will be sent directly to the AUX output This means that the AUX control of the corresponding input channel will temporarily be disabled If you want to adjust the monitor balance you can do so within Cubase n8 n12 Owner s Manual 8 Turn the DAW TO ST ON switch on While the Record Enable button and monitoring button are turned on the monitoring signal will be returned to the n8 n12 via the Cubase mixer When you turn the DAW TO ST ON switch on the monitoring signal returned from Cubase will be routed to the STEREO buses enabling you to monitor the signal If you wish to listen to the effect signal only in the control room turn
100. on If you wish to monitor the REC bus signals processed by a VST effect follow steps 6 to 9 below 6 7 Make settings in Cubase to insert the VST effect on the input bus or audio track Turn the MONITOR REMOTE ON switch on the switch LED lights up The Monitor Remote function is enabled Turn the MONITOR REMOTE REC BUS WET switch on the switch LED lights up If you plan to record the REC bus signals you can use the MONITOR REMOTE REC BUS WET switch to remotely control the monitoring button for the Cubase audio tracks to which the REC bus signals are sent If the Record Enable button and monitoring button in Cubase are turned on you can monitor the signal with the VST effect applied the wet sound cos NOREN ST M X HARDWAR MONITOR REMOTE _ cu on Cubase 4 Project Untitled1 D g gt amp tg 9 Z Touch Fade 100 ms Audio 01 So monitoring button Audio 03 n8 n12 Owner s Manual While you are using the Monitor Remote function the input channel signals being sent to the REC buses will temporarily be disconnected from the STEREO bus so that they will not be doubled in the monitor sound this allows you to monitor the signal that is being routed through Cubase STEREO REC n8 n12 Bus Bus LR p R INPUT CHANNEL Cubase CHANNEL
101. on the C R SOURCE SELECT DAW switch to select DAW Cubase as the monitoring source E Recording 9 Press the REC switch to start recording 10 Play the instrument 11 When you finish playing the instrument press the BI switch to stop recording 12 To review the recording result press the lt lt switch or I lt switch to return to the beginning of the project then press the gt switch Using the n8 n12 with Cubase 4 Cubase Studio 4 Cubase Al 4 Mixing recorded tracks You can easily monitor tracks recorded in Cubase by mixing them on Cubase and setting the n8 n12 s C R SOURCE SELECT switch to DAW If you wish to use the n8 n12 s compressor and reverb you can mix tracks using the n8 n12 This section describes how to send recorded audio track data from Cubase to the n8 n12 input channels and then mix them to stereo Mixing audio tracks mua Cubase track Output to n12 i h l 1 If the Monitor Remote function is enabled turn is uitput to 012 mparenannen the MONITOR REMOTE ON switch off to disable Track 1 n12 1 the Monitor Remote function Track 2 n12 2 2 If any audio tracks Record Enable buttons are Track 3 n12 3 lt on turn these buttons off e Track 4 n12 4 a 3 Set the STEREO fader to the 0 position then Track 5 n12 5 c make sure that the STEREO ON switch is turned LL on Track 6 n12 6 4 Turn on the HAR
102. onitoring signal exclusively to the player connect a set of headphones to the AUX PHONES jack INPUTB 9 CHANNEL A Caution FADER Make sure that the PHANTOM 48V switch is turned off mL when phantom power is not required Make sure that NO equipment other than phantom powered microphones is connected to the channel inputs when the corresponding channels phantom power is on Applying phantom power to equipment other than phantom powered microphones can damage the equipment The exception to this rule is balanced dynamic microphones which can safely be left connected while phantom power is applied to the XLR inputs When you switch phantom power on or off a loud noise may be output which could result in speaker or hearing damage To avoid this lower the level of your power amplifier or powered speakers to minimum before switching phantom power on or signals from Cubase or another DAW to the input off Also set the STEREO faders PHONES LEVEL control channels For more information please refer to and other output level controls to the minimum levels page 43 1 Make sure that the INPUT SELECT switch of the input channel that connects your musical instrument is set to A IN If the switch is set to A IN analog signals will be input to the corresponding input channel NOTE D f the DAW DAW input indicator is lit press the INPUT SELECT switch to the A IN position e When
103. or extreme cold or heat such as in direct sunlight near a heater or in a car during the day to prevent the possibility of panel disfiguration or damage to the internal components e Do not place the device in an unstable position where it might accidentally fall over gt e Do not block the vents This device has ventilation holes at the top bottom to prevent the internal temperature from becoming too high In particular do not place the device on its side or upside down Inadequate ventilation can result in overheating possibly causing damage to the device s or even fire e Do not use the device in the vicinity of a TV radio stereo equipment mobile phone or other electric devices Doing so may result in noise both in the device itself and in the TV or radio next to it e Before connecting the device to other devices turn off the power for all devices Before turning the power on or off for all devices set all volume levels to minimum Maintenance e Remove the power plug from the AC outlet when cleaning the device Handling caution e Vhen turning on the AC power in your audio system always turn on the power amplifier LAST to avoid speaker damage When turning the power off the power amplifier should be turned off FIRST for the same reason e Do not insert your fingers or hands in any gaps or openings on the device vents ports etc e Avoid inserting or dropping foreign objects paper pla
104. ording booth or on the stage and 2 to process the signal via an external effect unit such as reverb and delay On the n8 n12 a pre fader signal is routed from each input channel to the AUX bus You can create an independent monitor mix by setting each input channel AUX control to a mix balance that is different from the fader setting The AUX bus signal is output from the AUX PHONES jacks or the AUX PHONES jacks and AUX OUT jacks on the n12 Rotate the level control of the corresponding jacks to adjust the monitoring level To avoid damage to your hearing or speakers set the monitoring level rather low then re adjust the level later to suit your taste during mixing STEREO BUS L STEREO BUSR M ST OUT AUX PHONES Aux PHONES INPUT i CHANNEL Q9 our n8 n12 Owner s Manual Adjusting the volume level Adjust the volume level while monitoring the input channel signals 1 Make sure that the STEREO ON switch in the Master Control section is lit then raise the STEREO fader to the 0 0 dB marking on the fader scale The STEREO ON switch turns the stereo bus output on and off If the switch indicator is dark press the Switch to turn it on When the STEREO fader is set to the 0 0 dB position the stereo bus output signal is at its nominal level that is the pre fader and post fader signal are at the same level PFL i 0000 lo
105. ot currently supported as of March 2007 Refer to the following URL for the most recent information http www yamahasynth com lt 2 What you can do using the n8 n12 with Cubase a Linking the n8 n12 to Cubase enables you to perform many neat tricks For example E E Controlling Cubase remotely Bl Turning on and off VST or From the n8 n12 panel you can remotely control the other effects applied to the Cubase transport section and set up audio tracks monitor signal E Directly recording mixer From the Lala panel gt Li SE a or not you wish to monitor through the mixer the input signals to Cubase signals processed by VST effects in Cubase This is You can record input channel signals or REC bus called the Monitor Remote function You can easily signals from the n8 n12 directly into Cubase turn this function on or off depending on the This direct recording capability is very easy and requirements of your recording environment convenient While the Monitor Remote function is turned on you can monitor the input signals processed by the VST Direct recording of input channel signals effects ngini2 Cubase n8 n12 gt INPUT CHANNEL gt AUDIO TRACK INPUT CHANNEL AUDIO TRACK INPUT CHANNEL gt INPUT CHANNEL gt AUDIO TRACK INPUT CHANNEL gt AUDIO TRACK Direct recording of REC bus signals vers
106. placed behind the amplifier will pick up a signal with an offset phase In this case turn the PHASE switch on to avoid the phase offset and interference phase of mic offset V signal from E behind I I I I y phase of mic signal from in front n8 n12 Owner s Manual English 16 Front and Rear Panels Master Control section REVERB HALL O ROOM O ia PLATE O TYPE DAW TO ST LEVEL d LT Ve ol O N STEREO n Ko lo i f u STEREO Reverb section This section enables you to set the type output level and other settings for the internal digital reverb REVERB TYPE switch This switch determines the type of internal digital reverb Each press of the switch cycles through different effect types in this order HALL ROOM PLATE HALL Simulates reverberation in a concert hall ROOM Simulates reverberation in a room PLATE Simulates reverberation of a plate echo REVERB TIME control This control adjusts the reverb time duration of reverberation of the internal digital reverb Rotating the knob counter clockwise will shorten the duration n8 n12 Owner s Manual and rotating it clockwise will extend the duration REVERB LEVEL control This control adjusts the output level of t
107. plug is used for the left audio channel and a red plug is used for the right audio channel Inside Your Mixer Recording Basics 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 Simplified mixer block diagram master input channel bus section BUS OTT OUT B Input channel 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 mixer s input sensitivity to match the level of the source You can amplify small signals and attenuate large signals 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 Level meter input channel If the signa
108. 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 fit 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 11 12 13 14 Only use attachments accessories specified by the manufacturer Use only with the cart stand tripod bracket or table specified by the manufacturer or sold with the apparatus When a cart is O 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 qualified 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 LA Lg WARNING TO REDUCE THE RISK OF FIRE OR ELECTRIC SHOCK DO NOT EXPOSE THIS APPARATUS TO RAIN OR MOISTURE 98 6500 1 IMPORTANT NOTICE DO NOT MODIFY THIS UNIT not guarantee that interference will not occur in all installations
109. possible to start with all faders at their nominal settings but it is too easy to lose perspective balance with this approach Start with all faders down then bring them up one by one to fill out the mix with each instrument In this way you can easily create a well balanced mix 2 Make sure that the ST switch for the input channels you plan to mix is turned on 3 Set the STEREO fader to the 0 position and make sure that the STEREO ON switch is on 4 Raise the input channel faders one by one Bring the fader of the most important channel up to 0 0 dB then add the other instruments so that you can build the mix around that part This is a key to a well balanced mix 5 Adjust the STEREO fader while keeping your eyes on the MASTER LEVEL meter to avoid overloading the input signals The output level of the stereo mix varies depending on the input channel mix balance To create a mix with a wide dynamic range bring up the STEREO fader as high as possible without illuminating the OVER LED of the MASTER LEVEL meter Applying reverb Using an effect unit such as an internal digital reverb can effectively add polish to a stereo mix In this example let s use the internal digital reverb to apply reverb to a stereo mix The internal digital reverb uses its dedicated reverb bus Send each input channel signal to the reverb bus and adjust the reverb for each channel The mixed signal in the reverb bus is then
110. product in a residential product If you can not locate the appropriate retailer please con environment will not result in harmful interference with other elec tact Yamaha Corporation of America Electronic Service Division tronic devices This equipment generates uses radio frequencies 6600 Orangethorpe Ave Buena Park CA90620 and if not installed and used according to the instructions found in The above statements apoly ONLY to those products distributed b the users manual may cause interference harmful to the operation Y ha ti fhe ye it b dn y of other electronic devices Compliance with FCC regulations does amana corpo ran or Menea OT IS Subsidiaries This applies only to products distributed by YAMAHA CORPORATION OF AMERICA class B OBSERVERA COMPLIANCE INFORMATION STATEMENT Apparaten kopplas inte ur v xelstr msk llan n tet s l nge DECLARATION OF CONFORMITY PROCEDURE som den ar ansluten till v gguttaget ven om sj lva apparaten har st ngts av Responsible Party Yamaha Corporation of America ADVARSEL Netspeeendingen til dette apparat er IKKE Address 6600 Orangethorpe Ave Buena Park Calif 90620 afbrudt s leeenge netledningen siddr i en stikkontakt som er t Telephone 714 522 9011 endt ogs selvom der or slukket p apparatets afbryder Type of Equipment Digital Mixing Studio Model Name n8 n12 VAROITUS Laitteen toisiopiiriin kytketty k ytt kytkin ei irroita koko laitetta
111. roject then press the gt switch to listen to the recording n8 n12 Owner s Manual 45 Monitoring in a Surround Sound Environment n12 only Monitoring in a Surround Sound Environment n12 only The n12 features a Surround Monitor function that enables you to easily monitor your mix in Cubase 4 5 1 channel surround sound This section describes how to use the Surround Monitor function NOTE Cubase 4 is required in order to use the surround monitor functionality The included Cubase Al 4 does not support surround monitoring and cannot use the surround monitor functionality Connecting surround speakers Connect each surround channel speaker to C R OUT jacks A C Each jack is assigned to the following channel speaker C R OUT jack A L L channel speaker C R OUT jack A R R channel speaker C R OUT jack B L Center channel speaker C R OUT jack B R Subwoofer C R OUT jack C L L surround channel speaker C R OUT jack C R R surround channel speaker amp L eg Ga EXT Sa STANDBY amp gt ea AC INPUT Vy ES UL SW SUBWOOFER R CENTER RIGHT o listening point LS RS LEFT SURROUND RIGHT SURROUND Placement of the surround speakers Speaker position is extremely important to accurate monitoring in a surround sound environment Refer to the description below to place
112. routed to the digital reverb Digital reverb is then applied You can route the output from the digital reverb to the stereo bus or other buses INPUT CHANNEL INPUT A REVERB BUS R STEREO BUS R REVERB BUS L INPUT B This routing is called send and return It allows one effect to be shared by multiple channels Typically send and return routing is used for reverb and other ambient effects NOTE 1 Press the REVERB TYPE switch in the Master Control section repeatedly to select the desired reverb type REVERB HALL OO Room Off PLATE ale Select a type REVERB TIME nel MIN MAX LEVEL ol To O AUX TO O REC O TOST 2TR TO ST LEVEL ict A Hands On Guide to the n8 n12 The internal digital reverb provides the following three reverb types HALL Simulates reverberation of a concert hall ROOM Simulates reverberation of a room PLATE Simulates reverberation of a plate echo Set the TO AUX TO REC and TO ST switches on or off individually to determine the destination of the digital reverb output You can select multiple destination buses If the TO ST switch is turned on the digital reverb output return signal will be routed to the stereo bus thus adding reverberation to the stereo mix If a monitoring signal is being sent to the players via the AUX bus turning onl
113. s NOTE D For more information on surround mixing using Cubase 4 please refer to the Cubase 4 Owner s Manual 2 Turn on the 5 1 switch in the Control Room section the switch LED lights up 5 1 ch Cubase 4 signals will be adjusted by the Bass Management function then input to the Control Room Monitor section and output to the speakers You can adjust the monitoring level using the CONTROL ROOM LEVEL control Cubase 4 n12 C R SOURCE 5 1 BASS MANAGEMENT C R SOURCE SELECT C RSPEAKER SELECT 3 If you wish to mute certain surround channel signals press the corresponding C R SPEAKER SELECT switches Pressing any C R SPEAKER SELECT switch during surround monitoring will mute the corresponding surround channel Pressing any C R SPEAKER SELECT repeatedly will cycle the corresponding switch LED status as follows lights up solid gt flashing fast flashing slow off The following table can help you select the channel you wish to mute Bass Management function In a surround sound system that includes a subwoofer the bass components of all channels and the LFE channel signal are output to the subwoofer Bass Management is a function that makes adjustments in order to prevent interference between the signals sent to the subwoofer and the signals sent to the other speakers While you are using the n12 Surround Monitor function the Bass Management function works as illustrated in the diagram below
114. s each audio track In this Work mode the output signal from each Cubase send has already been assigned to the n8 n12 AUX audio track is individually input to each n8 n12 input bus By adjusting the send level for each audio track channel then mixed and processed via the compressor in Cubase in the same way as when you create a or equalizer musician s mix by using the n8 n12 AUX control When this mode is selected signals sent from the DAW you can create a musician s mix DAW inputs will be selected as the input source for all input channels and the DAW LED in the INPUT SELECT Audio 01 switch area will light up nserts 4 m S Audio 01 Cubase n8 n12 Audio 02 Audio 03 AUDIO TRACK gt INPUT CHANNEL AUDIO TRACK gt INPUT CHANNEL AUDIO TRACK T INPUT CHANNEL 2 If you create a new audio track or if you create a AUDIO TRACK INPUT CHANNEL project without using the n8 n12 project templates assign the n8 n12 AUX buses to the audio track sends in Cubase gt C R OUT Cubase o AUDIO TRACK AUDIO TRACK AUDIO TRACK B 5 1 MIX AUDIO TRACK In this mode audio tracks are routed to the Cubase surround buses The signals mixed to the surround buses can be monitored via the n12 Control Room monitor For more information on surround monitoring refer to page 48 NOTE D You cannot set Work mode to 5 1 MIX if you are using Cubase Studio 4 or Cubase Al 4 since neit
115. s mix transfer Cubase audio volume of the n8 n12 s monitor signal e ES directly i n8 n12 AUX bus by using For the n8 S PARASE MIXE RENS AUX PHONES control For the n12 AUX PHONES control and AUX LEVEL control NOTE If you are using Cubase 4 disable Cubase 4 s Control Room function 38 n8 n12 Owner s Manual Using the n8 n12 with Cubase 4 Cubase Studio 4 Cubase Al 4 Let s start our recording session This section will help you understand how to transfer the n8 n12 input channel signals to Cubase and record them on the audio tracks You can do this in either of the following two ways Mixing signals on the n8 n12 then recording The n8 n12 has a dedicated bus REC bus that can be used to record the mixer signals to a DAW such as Cubase Using this bus enables you to mix any input channel signals on the n8 n12 then record them in Cubase This example here uses the Monitor Remote function to monitor the VST effect signals while recording signals via the REC bus n8 n12 STEREO BUS L STEREO BUS R INPUT CHANNEL INPUT CHANNEL NOTE If you select the Yamaha n12 n8 stereo recording project template the REC bus will be automatically selected as the input source for each audio track E Preparing for recording 1 Make sure that the INPUT SELECT A IN switch is turned on analog input While Cubase is linked to the mixer you can select the input source by using the INPU
116. s will be installed in the following location Copy these files to the location where Cubase has been installed C Program Files Steinberg Cubase 4 templates Devices gt Voice Voice playback then C Program Files Steinberg Cubase Studio 4 templates select any option other than mLAN Audio C Program Files Steinberg Cubase Al 4 templates Out E Audio and MIDI signals fail to transfer between 2 a ii bs computer and mixer Devices Audio Sound playback then The driver may not have been installed or set up select any option other than mLAN Audio correctly Out Make sure that the IEEE 1394 cable is connected 3 properly and that the power to the n8 n12 has been turned on here may be a loop connection Check the cabling to make sure that none of the devices are connected in a loop From the Start menu select Settings Control Panel Sounds and Audio Devices Audio MIDI music playback then select any option other than mLAN MIDI Out through mLAN MIDI Out 8 From the Start menu select Settings Control Panel Sounds and Audio Devices Sound Example of loop connection TD E Sound scheme then select No Sound Then computer computer restart the computer n8 n12 M B Cannot uninstall remove n Driver e Right click the driver icon on the task tray to display the pop up menu disable Auto On in the menu and restart the comp
117. ssor is triggered or removed depends on the compressor s setting For example if you select a setting with a slow response the level will change gradually and more naturally If you select a setting with a quick response the level will change quickly input signal LEVEL threshold compressor triggered TIME compressor removed Mastery of EQ Each input channel features a three band high mid low equalizer An equalizer boosts amplifies or cuts attenuates certain frequency ranges to shape the tone It can be used to modify the tone to suit the acoustic characteristics of a room to make creative sounds or for many other purposes One particularly important application of EQ is to give the overall sound better definition by eliminating interference between instruments frequency ranges in a mix Remember less is more Modest use of equalization will lead to a great natural sounding mix MID boost amplify MID flat LOW boost HIGH boost amplify amplify T LOW flat T HIGH flat SIGNAL LEVEL dB LOW cut HIGH cut attenuate attenuate MID cut attenuate FREQUENCY RANGE Hz E Boosting or cutting certain frequency ranges To boost or cut certain frequency ranges of the input signal use the GAIN controls As you rotate a control clockwise the corresponding range will be boosted and as you rotate the control counter cloc
118. stic metal etc into any gaps or openings on the device vents ports etc If this happens turn off the power immediately and unplug the power cord from the AC outlet Then have the device inspected by qualified Yamaha service personnel e Do not use the device or headphones for a long period of time at a high or uncomfortable volume level since this can cause permanent hearing loss If you experience any hearing loss or ringing in the ears consult a physician e Do not rest your weig excessive force on th ht on the device or place heavy objects on it and avoid use e buttons switches or connectors XLR type connector Insert TRS phone jacks are wired as follows sleeve ground tip send and ring return s are wired as follows IEC60268 standard pin 1 ground pin 2 hot and pin 3 cold English Yamaha cannot be held responsible for damage caused by improper use or modifications to the device or data that is lost or destroyed Always turn the power 0 when the device is not in use Even when the power switch is in the STANDBY position electricity is still flowing to the device at the minimum level When you are not using the device for a long time make sure you unplug the power cord from the wall AC outlet The performance of components with moving contacts such as switches volume controls and connectors deteriorates over time Consult qualifie
119. t Out n12 Direct Out 11 n12 Dir11 12 n12 6 n12 input 6 Input Channel 6 CH12 Direct Out n12 Direct Out 12 n12 7 n12 input 7 Input Channel 7 REC BUS L n12 REC Bus L n12 REC n12 8 n12 input 8 Input Channel 8 REC BUS R n12 REC Bus R wb n12 AUX n12 AUXL DAW TO AUX L STEREO BUSL n12ST Bus L n12 ST gt n12 AUX R DAW TO AUX R STEREO BUSR n12 ST Bus R E Y Cubase Output na Input nB Output Cubase Input el Output Bus Device Port Device Port Input Bus n8 L R n8 Monitor L DAW TO ST L CH1 Direct Ou n8 Direct Out 1 n8 Dir1 n8 Monitor R DAW TO ST R CH2 Direct Ou n8 Direct Out 2 n8 Dir2 n8 5 6 n8 input 5 Input Channel 5 CH3 Direct Ou n8 Direct Out 3 n8 Dir3 n8 input 6 Input Channel 6 CH4 Direct Ou n8 Direct Out 4 n8 Dir4 Aa n8 7 8 n8 input 7 Input Channel 7 CH5 Direct Ou n8 Direct Out 5 n8 Dir5 6 S n8 input 8 Input Channel 8 CH6 Direct Ou n8 Direct Out 6 Wa n8 1 n8 input 1 Input Channel 1 CH7 Direct Ou n8 Direct Out 7 n8 Dir7 8 n8 2 n8 input 2 Input Channel 2 CH8 Direct Ou n8 Direct Out 8 ta n8 3 n8 input 3 Input Channel 3 REC BUS L n8 REC Bus L n8 REC LL n8 4 n8 input 4 Input Channel 4 REC BUS R n8 REC Bus R n8 AUX n8 AUX L DAW TO AUX L STEREO BUSL n8 ST Bus L n8 ST n8 AUX R DAW TO AUX R STEREO BUSR n8 ST Bus R Espanol n8 n1
120. t to connect a CD or other music source to the n8 n12 for monitoring You can adjust the level of signals input via these jacks using the 2TR TO ST control page 16 in the Master Control section ST OUT jacks These stereo jacks output the mixed signal and are suitable for use as the main output for a small concert or other event The signal level is adjusted via the STEREO fader then the signal is output from these jacks You can use these jacks for example to send the stereo mix to the master recorder or to connect to the power amplifier driving your main speakers These jacks feature two types phone type and RCA pin type and the same signal will be output from either type of jack Phone type These are stereo output jacks that support both balanced and unbalanced signals RCA pin type These are unbalanced stereo output jacks G C R OUT jacks These are stereo output jacks that support both balanced and unbalanced phone type connections for the Control Room monitor The signal level is adjusted in the Control Room section page 18 before it is output The signal monitored by these jacks is selected via the C R SPEAKER SELECT switches page 18 AUX OUT jacks These stereo jacks output AUX bus signals They support both balanced and unbalanced phone type connections You can use these jacks for example to connect musicians monitor speakers or to send the input channel signal to a connected
121. tch high pass filter This switch toggles the high pass filter on or off When the switch is turned on the high pass filter cuts frequencies below 80 Hz of the signal from the input jacks T Ll Q PHANTOM 448V switch e f This switch toggles phantom power for condenser microphones on and off If you are connecting ba Bai ees condenser microphones to the XLR type INPUT A Pon aes cM a jacks on the rear panel turn the switch on sof a so soo The switch LED lights up 0 E 0 PE HOO Each phantom switch turns the phantom power on and 480 ls 480 ls 40 O i off for four channels simultaneously Channels 1 4 and oH ofze o channels 5 8 on the n12 and channels 1 4 on the n8 em NOTE When the switch is turned on phantom power DC Ol lo 48V will be supplied to Pin 2 and Pin 3 of the LI LJ LI corresponding XLR type INPUT A jacks pa 15 15 5 i Ro 7 8 9 10 n12 n8 n12 Owner s Manual 13 Front and Rear Panels A O Equalizer EQ Caution This three band equalizer adjusts the input channel s e Be sure to leave this switch off mL if you do not need high mid and low frequency bands You can also phantom NR adjust the center
122. the channel fader so the effect level always remains in proportion to the channel signal when you adjust the channel fader STEREO BUS mmm REVERB BUS channel fader stereo fader OUT digital reverb REVERB send level E Insert I O for processing individual channel signals Insert I O jacks function in a manner similar to the AUX buses they provide a send and a return for signal processing via an external effect unit However unlike AUX buses that collect multiple channel signals then send them together to an effect unit insert I O jacks are used to send an individual channel signal to an external effect unit then return it to the mixer A channel signal that is routed to the insert out jack has already been amplified or attenuated to an appropriate level via the gain control Connect a compressor limiter equalizer or other effect unit that can control the overall signal to the insert I O jacks You can also connect a reverb or similar effect unit to process only a single channel signal When you connect an effect unit to the insert I O jacks the channel signal will be routed to the external effect unit via the insert out jack The signal will be processed by the effect unit then returned to the mixer via the insert in jack It then resumes its normal path t effect un FE HB INSERT INSERT OUT IN channel INPUT CHANNEL fader Front and R
123. the switch is set to DAW you can input 24 ns n12 Owner s Manual 2 If you are using the n12 make sure that the INPUT METER switch in the Meter section is set to PRE You can select pre fader signal level or post fader signal level for the input meters A pre fader signal is taken from a point before the channel fader A post fader signal is taken from a point after the channel fader As you might guess the meters will display pre fader signal levels if you select PRE and post fader signal levels if you select POST When you are adjusting the input sensitivity gain keep your eyes on the pre fader signal meters m E EJ Ls c Rs AUX PRE CR o i a bin Lm CONTROL ROOM C R SPEAKER SELECT NOTE f f POST has been selected press the INPUT 3 4 METER switch to change to PRE f you are using the n8 the meters always display pre fader signal levels Turn the PAD switch on or off for each monaural input channel depending on the connected instrument or microphone While playing the instrument or singing into the microphone at the loudest expected level gradually rotate the corresponding GAIN control clockwise without the input meter s OVER LED lighting up In order to record the sound with a wide dynamic range and minimum noise rotate the GAIN control clockwise to raise the input
124. tion of the track will be displayed in the Inspector located to the left of the track list If you select n12 n8 Dir1 the channel 1 signal will be input to the specified audio track Cubase 4 Project Untitled1 n 0 0 BEE 4 Audio 01 input source of audio track Input Routing NOTE D e To select a track in Cubase you can use the PREV A and NEXT W switches in the DAW Remote Control section on the n8 n12 e If the track s input output routing is not displayed click the Show Inspector button You can select the input source from the following options E n12 Input routing Input source n12 REC Left Right REC bus n12 ST Left Right STEREO bus Monaural input En Be channel direct output n12 Dir9 10 n12 Dir11 12 Left Right Options in parentheses can be selected only for monaural tracks Stereo input channel direct output B n8 Input routing Input source n8 REC Left Right REC bus n8 ST Left Right STEREO bus Monaural input Din channel direct output n8 Dir5 6 n8 Dir7 8 Left Right Stereo input channel direct output Options in parentheses can be selected only for monaural tracks 4 Press the REC READY switch in the DAW Remote Control section the Record Enable button in Cubase will be turned on for the audio track on which you are recording The REC bus signals will be sent to the specified audio trac
125. tput level of the audio tracks Bi If you are assigning each audio track to an input channel individually In the Cubase mixer set the fader for the track you wish to assign to the 0 00 position With this setting the signal will be routed to the input channel at the nominal output level E If you are assigning multiple audio tracks to the same input channel 44 ns n12 Owner s Manual Using the n8 n12 with Cubase 4 Cubase Studio 4 Cubase AI 4 Mixing down Finally mixdown time Now you can record the completed mix onto stereo tracks This section explains how to do so Cubase n8 n12 INPUT CHANNEL INPUT CHANNEL INPUT CHANNEL INPUT CHANNEL AUDIO TRACK AUDIO TRACK AUDIO TRACK AUDIO TRACK AUDIO TRACK 1 Select Project Add tracks Audio The Add Audio Track dialog box opens Cubase 4 File Edit GOSS Audio MIDI Scores Media Transport Devices Window 1 ia NEN A Dupli A E Aa Tracks d Fx Chant Remove Empty Tracks Folder gt H Group Channel Track Folding li Instrument Pool Ctrl P Markers Ctrl M MIDI Tempo Track Ctrl T ZI Marker Browser Ctrl B 22 Play Order Beat Calculator 7 Ruler Set Timecode at Cursor Notepad LI video Browse Sounds Project Setup Shift S Auto Fades Settings 2 Click the Configuration column to select stereo then click OK Add Audio Track Audio Track
126. ubase Studio 4 Cubase Al 4 using your foot By default the foot switch will operate as the Mackie Control USER SWITCH A If necessary you can make settings within your DAW to change the assignment With the default settings in Cubase this will perform the same operation as the REC button POWER switch This switch sets mixer power to ON or STANDBY English A Caution Note that a small amount of current continues to flow while the switch is in the STANDBY position If you do not plan to use the mixer for a long period of time please be sure to unplug the adaptor from the wall outlet AC INPUT jack Connect a power adaptor here refer to page 8 n8 n12 Owner s Manual 21 22 Setting Up the Mixer Setting Up the Mixer Setup Procedure 1 Before connecting microphones and other NOTE D You cannot use both INPUT A and INPUT B jacks for each instruments to the mixer make sure that the input channel If you connect cables to both jacks INPUT B power to all devices is turned off Also make will be used and INPUT A will be disabled sure that all of the mixer s channel faders and 3 To avoid loud pop noises and possible damage master control faders are set all the way down to your speakers turn on the power to the devices in the following order peripheral devices n8 n12 power amps or powered speakers Turn off the power to the devices in the reverse order power amps powered speakers n8
127. use the WORK MODE switches in the DAW Remote Control section You can press a desired WORK MODE switch to change the Work mode in Cubase while Cubase is linked to the mixer DAW_ REMOTE CONTROL i NORE MODE n ST MIX mode SI ESL 5 1 MIX mode ST MIX HARDWARE MIX 51 MIX Only n12 OR REMOTE CCK REMOTE REC BUS WET ofi Maa HARDWARE MIX mode 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 B ST MIX In this Work mode all audio tracks are mixed in Cubase then output to the n8 n12 DAW monitor channels n12 L amp R n8 L amp R To monitor the Cubase signals turn on the DAW TO ST ON switch to add output signals from Cubase to the mixer s STEREO buses then monitor the signals via the STEREO buses If you wish to monitor only the output signals from Cubase turn on the C R SOURCE SELECT DAW switch AUDIO TRACK AUDIO TRACK AUDIO TRACK AUDIO TRACK n8 n12 INPUT CHANNEL CONTROL ROOM MONITOR n8 n12 Owner s Manual English 37 Using the n8 n12 with Cubase 4 Cubase Studio 4 Cubase Al 4 E HARDWARE MIX In the n8 n12 project template
128. ut from the stereo buses De pending on the design of the mixer a fader is provided for each bus so that you can adjust the lev Q Le Thi el of each bus output vel meter master s meter indicates the signal level in the master section which is the mixer s final output level ns n12 Owner s Manual 11 Recording Basics Monitor mix for musicians external effects One important mixer function is to send out signals for signal processing via an external effect unit or to be monitored by the musicians For these purposes mixers feature AUX bus and Insert I O B AUX buses for monitor sends and overall effects AUX Auxiliary buses are very convenient buses that can be used for various purposes such as a to create a monitor mix that is separate from the main mix and sent to the players for monitoring and b to process the signal via an external effect unit and then bring it back into the mix When you are using the AUX buses you need to consider whether you want a pre fader signal a signal taken from a point before the channel fader or a post fader signal a signal taken from a point after the channel fader to be sent to the AUX buses On the n8 n12 a pre fader signal is sent to the AUX bus Thus the bus signal is not affected by the channel fader an 2 o 8 um channel amp x fader nt pre ON stereo fader H o 1 OUT AUX send level OUT e Using AUX buses t
129. uter Then try to uninstall the driver again e IEEE 1394 equipped device E Cannot use other connected Firewire devices correctly Turn the driver off To do so right clicking the driver icon on the task tray then select OFF Make sure that the driver is enabled The driver icon should be blue If not right click the driver icon on the task tray then select ON When you connect the n8 n12 make sure that the system displays a screen indicating that the connection is in progress If not right click the driver icon on the task tray then select RESET ALL to reset the connection The connection process resumes from the beginning This connection 52 n8 n12 Owner s Manual Numerics 2IRIN sia 20 2IR TQ ST sense 16 c RI 18 25 46 50 SMR 19 38 A AIN ee 14 24 ASIO Driver coccoccccnccncncnnoncnoncninncnno 49 AUX BUS 12 14 16 AUX LEVEL eene 17 AUXOUT visas e 21 AUX PHONES saana 17 B BAL iii 14 Bal nced utres 9 Block Diagram 210 BUS citati eh 11 C Channel fader 11 15 CLICK REMOTE 19 37 Click sound 37 COMP LED ocres 14 Compressor 11 14 28 Condenser microphones 13 24 CONTROL ROOM LEVEL 18 25 CR OWT end 17 18 21 25 46 C R PHONES 17 25 C R SOURCE SELECT 18 C R SPEAKER SELECT 18 Cubase 4
130. va lt Si ke MYG TXnv weg ISH NI gz NS LG MVA ES 9 rs MVA 190 pi NI MYG Zhu Y ES Ma Y XNY MYG gu i i H IUe Ee rr c cepere rc ceret SMV 71Xnv MYA gu Eso mat od L1 NI Mya ziu lt lt LL NI MYO lt a 997 XIMINMOG MYA Sindino S3NOHd 4 9 USU Tema FARETE i NI MO 5 1 H ANINFOVVIN SSYA 6 NI MYG suoopmua T7 pp wa SRI re ana a 01 21 NI MYA a e Ni mvva lt tuns Uo eto via ST SS INI ma S3NOHd 4 9 KO zm zue uw sy rs ol NI vva lt rue AN a rs s ni vva lt i Y ES Miva 1 b s NV Mm am Ie sata ie vumm wa HMM 9 rs i2 QDXINNMOQ MYO 1XINNMOQ MYO TXINNMOO MYG e es z ni mg 1 e 114 XINNioG awa I ul iN weg ICwa napr KES 2 n i rs raw i s lreln 9 8 asi A 0 MEMO CD i Z S 2 SS Me i ava ps 2 a haz ug mslrslm a Gc ule f H Xnv mya i 31 1Xnv MYO 3 cv end El 018 70109 HAT XNY OL MYA olrsin a S A CZ 005 oo Y mya SES E olo Tawa Ive nape DEN 034315 OL MYO dn am pow M wanna eri so ulrsn v SE o Qv wa Kean 7 030515 ag Hf ami avan XOVEYTVL sin Im nappa I zT lS ole ET Mad wert men ara n v a am au onggo gd usa H ino 4 9 OULNOD 93401 Tsunoormuz l TL FVG g QN baus mul Uno HA i i SINORA XIV we Wa e u 034315 01 UL 713137 Welz Cv nape wa Es q ee KL U d us BINO xnv Kwa rao Ka wa 9 v Ni mya TINO xnv wen 4 EE _ El O en 3 3 ae 3 i o n Ierd Tam we om m Tg NX Wee H z ig i2izi Ierzen HE Y
131. verkosta This device complies with Part 15 of the FCC Rules Operation is subject to the following conditions standby 1 this device may not cause harmful interference and 2 this device must accept any interference received including interference that may cause undesired operation See user manual instructions if interference to radio reception is suspected The serial number of this product may be found on the rear of This applies only to products distributed by FCC DoC the unit You should note this serial number in the space pro YAMAHA CORPORATION OF AMERICA vided below and retain this manual as a permanent record of your purchase to aid identification in the event of theft Model No Serial No rear IMPORTANT Please record the serial number of this unit in the space below Model Serial No The serial number is located on the bottom or rear of the unit Retain this Owner s Manual in a safe place for future reference This applies only to products distributed by Ser No YAMAHA CORPORATION OF AMERICA PRECAUTIONS PLEASE READ CAREFULLY BEFORE PROCEEDING Please keep this manual in a safe place for future reference A WARNING Always follow the basic precautions listed below to avoid the possibility of serious injury or even death from electrical shock short circuiting damages fire or other hazards These precautions include but are not limited t
132. ween various types of connectors Let s start by taking a look at the most common types of connectors XLR type connectors uns Gh male female 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 aan stereo TRS phone plug 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 RCA pin connectors white red 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
133. y the TO AUX switch on will apply reverb to only the monitoring signal leaving the stereo mix without reverb For example even if you are recording a vocal without reverb applying reverb only to the monitoring signal may help the vocalist to sing more easily or get into the groove In this way changing the destination of the reverb output enables very flexible recording English 3 4 6 a Rotate each input channel REVERB control clockwise to adjust the digital reverb level send level You can adjust the digital reverb level using the input channel REVERB controls In this example raise this send level high enough so that you will be able to listen to and check how much reverb has been applied then fine adjust the level later Rotate the REVERB LEVEL control in the Master Control section left or right to adjust the digital reverb output level return level Adjusting the digital reverb output level will adjust how much reverb is applied to the entire sound A control set to the W position indicates that the output level is nominal 0 dB a Rotate the REVERB LEVEL TIME control left or right to adjust the digital reverb duration reverb time As you rotate the control counter clockwise the digital reverb time gets shorter As you rotate the control clockwise the reverb time gets longer Adjust the reverb time until you hear the reverberation you desire If necessary rotate each i
134. your speakers 100 120 N L R channel speakers Place your L amp R speakers so that they form an equilateral triangle with your listening position as the third point All three sides should be the same length and all three interior angles should be 60 LS RS channel speakers Place your LS amp RS speakers so that they are in about the 4 o clock and 8 o clock positions 100 120 angle from the center Center channel speaker Determining where to place the center channel speaker is easy Simply place it between the L and R channel speakers If possible place it slightly further away from the listening position than the L and R channel speakers In other words if you were to draw a line between the L and R speakers the center speaker should be positioned a little beyond that line Subwoofer LFE channel Place your subwoofer the same distance from the listening position as the other speakers and on the floor between the L and R channel speakers Since a subwoofer typically features a wide projection angle shifting its position to the left or right will not affect the sound you hear 46 n8 n12 Owner s Manual Monitoring in a Surround Sound Environment n12 only Setting up surround monitoring 1 Turn on the 5 1 MIX switch in the DAW Remote Control section the switch LED lights up The n12 switches Work mode to 5 1 ch surround Cubase 4 selects n12 5 1 as the destination of its audio track

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