• Great Mixes Begin with a Great Preamp

• Switchable Phantom Power

• Direct Connect to a Wide Range of Sources

• Sweet Spot Data Library

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

- Great Mixes Begin with a Great Preamp

- Musically Tuned Class-A Discrete Mic Preamp with Inverted Darlington Circuitry Design -

Almost invariably, your sound - your art - will start out as an analog signal. Whether it's your voice, sax, guitar, piano, or even most electronic keyboards, you'll be feeding an analog signal to the mixer, where it encounters one of the most critical elements in the entire signal chain: the microphone/line preamplifier (sometimes called the 'head amp'). The preamplifier amplifies the low-level output from microphones and conditions line-level signals so that they can be converted to digital information via the mixer's analog-to-digital converters, and unless absolute signal purity and integrity is maintained, you will lose some of the quality you've worked so hard to achieve. Yamaha has gone to extremes in the n-series mixer to create preamplifiers that will make the most of the music you feed them. In addition to a specially-tuned class-A discrete configuration that implements an inverted Darlington circuit design for exceptional musicality and low distortion, these outstanding preamplifiers employ custom-manufactured capacitors that contribute to sonic resolution you'll have to hear to believe. Bass comes through with the punch and authority it needs to support the music, smooth highs deliver a natural sense of openness and 'air', and outstanding midrange resolution means extraordinary musical detail. These are not average production-line preamplifiers, and you will hear the difference. You also have a full range of input controls, including gain trim, pad switch, phase switch, low-pass filter, and analog/DAW input selection.

- Switchable Phantom Power

If you're serious about your sound - especially for vocals or acoustic instruments - you'll undoubtedly want to use studio-quality phantom-powered condenser microphones for the extended range and natural reproduction they provide. The n8 and n12 are fully compatible, with switchable built-in phantom power.

- Direct Connect to a Wide Range of Sources

The n-series consoles provide both balanced XLR connectors and balanced TRS phone jacks on all mono input channels for direct connectivity with the widest possible range of input sources. The stereo inputs have both unbalanced RCA pin jack and phone jack pairs. All mono inputs also feature TRS insert jacks that can be used to insert external signal processors into the signal path of the corresponding channel.

- Sweet Spot Data Library

Sweet Spot Data Manager is a software application that enables you to replace the n8/n12's compressor settings (Sweet Spot Data). This application contains several Sweet Spot Data sets and enables you to easily replace the compressor data on the n8/n12. Visit Download section.

Artist #1: Shin-ichi Akagawa
Profile:
Engineer/Producer/Studio Designer/Writer
Website:
http://web.mac.com/strip_01/STRIP/STRIP.html
Comment:
In this Sweet Spot Library data, we have realized an unbeatable range of compression settings for all types of audio. Sweet Spot A is characterized by slow attack and fast release, while B has mid-level attack and release speeds. The ideal choice for "feel-good" compression, Sweet Spot C combines medium attack with slow release. Meanwhile, attack and release speeds are both fast at D, where the compressor starts to distort the audio. With extremely fast attack and release, compression at Sweet Spot E produces greater levels of distortion, and at this Morph setting, the compressor can be used almost like a distortion effect, with adjustments made using the Drive control.

As musical instruments can produce a diverse variety of sounds, start by setting the Drive control to apply a certain amount of compression, and then observe how the Morph control can change the input sound. If working with drums, for example, the attack of each hit would sound natural at Sweet Spot A, becoming gradually more snappy and pronounced as you move closer to Sweet Spot D. And at Sweet Spot E, where most drum sounds begin to distort, ambience and room noise will become more apparent in the compressed audio. Since the attack of each drum hit is softened by this type of extreme compression, the Morph control can be used to easily locate the perfect level of attack between points D and E. In this way, therefore, the compressor can be used to control the attack and decay levels of the input sound. With conventional compressors, a range of different settings must be juggled in order to get the best results, but with this exceptional tool, just two controllers are enough to modify the sound in an intuitive, instinctual way. Sweet Spot Morphing technology is a joy to behold, and the stunning results achieved with the Morph and Drive controls alone offer exciting possibilities to all.

Artist #2: Chuck Ainlay
Profile:
Producer/Engineer
Website:
http://chuckainlay.com
Comment:
A:Vocal B: Instruments C: General Total Mix D: Drums E: Strong Comp (Slam, Hit Hard, Crush it) I tried to make it as a general compressor for vocal music.It has its own character, and very punchy sound. Other recommendation are as bellows: Piano/Synthesizer: B to C, Bass/Guitar: A to B, and Horns: A to C. So please check it out.
Artist #3: Michael Wagener
Profile:
Engineer/Producer
Website:
http://www.michaelwagener.com/
Comment:
The settings are especially for Rock/Metal sound.
Around A area: Light Compression to bring up the low level parts a bit.
Around B area: Slightly harder, to compress the dynamic range a little more.
Around C area: Medium compression, fast attack, fast release, higher ratio results in medium compression with just a little limiting.
Around D area: Heavy compression very fast attack fast release, higher ratio for Drums & Percussion sound.
Around E area: Heavy compression/limiting very fast attack, takes care of peaks, slower release than D, for clean low end sound

Awesome compressor! It never freaks out. It is very easy to use with only two knobs. The n series takes a load of the left side of the brain to let you use the creative right side of the brain!

- Sweet Spot Morphing Compressor

Although a wide range of artistic sensibilities and technologies come together to form great music, compression is one aspect that clearly differentiates professional sound. You could buy a professional compressor (at considerable cost), but they are complicated to use, and it can take hours to dial in the optimum compression for just a single track. In fact, one of the marks of a great engineer is his or her ability to quickly set up compression and EQ that enhance the music, drawing on experience acquired over many years and countless studio sessions. Yamaha's innovative Sweet Spot Morphing Compressor produced by K's LAB eliminates the tedious details with just two knobs that function in a totally new and ingenious way. The MORPH control has five 'sweet spots' that offer compression crafted by some of the world's leading engineers and producers, and by simply rotating the control you can 'morph' seamlessly from one sweet spot to the next for an extraordinary spectrum of expressive compression. The second DRIVE knob is used to adjust the amount of compression applied. No compressor has ever made it this easy to dial up the perfect compression for such a wide range of situations. And since the Sweet Spot Morphing Compressor is based on Yamaha's extraordinary analog modeling technology, no other 'simple' compressor sounds anywhere near as good. Alternative sweet spot data can be downloaded from Sweet Spot Data Library.

- Hi-Z Input for Direct Guitar or Bass Recording

Not all guitar and bass recording situations required amps, microphones, and a soundproof studio. You can conveniently connect an electric guitar or bass directly to the 'B' input of channel 4 on the n8 or channel 8 on the n12 and engage the input Hi-Z switch for optimum matching and sound.

- Effective Musical EQ

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

- High-resolution Rev-X Reverb

Yamaha's Rev-X digital reverb algorithm is renowned for its high resolution and extraordinarily natural sound. The n-series consoles offer this leading technology built in. You have a choice of hall, room, and plate reverb simulations with reverb time and level control. This superlative reverb processor can be used for wet monitoring while recording as well as for adding ambience during final mixdown.

- Dimmer and Mute Switches

These handy functions are normally only found on large studio consoles, but you'll be glad Yamaha has included them on the n8 and n12. As you'd expect, the mute switch mutes or un-mutes the console's output, while the dimmer switch reduces the output to a level that is still audible but allows conversation or phone calls. The advantage of the dimmer switch is that you can simply tap it a second time and be precisely back at optimum monitoring level without having to reset faders or level controls.

- Source Select and Level Control

The n8 has source selectors for DAW (the stereo output from the DAW running on your computer), ST (the console's stereo bus), AUX (the console's auxiliary bus), and 2TR (the console's 2-track inputs), while the n12 additionally features a '5.1' source selector for surround monitoring. The console's surround monitoring capabilities are impressive, with bass management, down-mixing, and other features you'd normally only find on high-end professional gear. You can even use the console for top-quality surround playback from pre-recorded sources such as DVDs and computer sources, giving you a chance to hear how top engineers approach surround production on your own monitor speakers. But although they provide professional capabilities, the n-series mixers make general monitoring hassle-free: simply select the signal you want to monitor and spin the big CONTROL ROOM LEVEL knob to set the ideal monitoring level.

- Solo Level Control

Solo switches on every input channel let you monitor a single channel or any group of channels within a mix without having to change settings on any of the other channels. The n-series consoles even provide a pre-fader listen switch for pre-fader solo monitoring, and a solo level control that lets you adjust the solo monitoring level as required. This is another feature usually only found on large, expensive consoles.

- Surround Monitoring and Bass Management (n12)

The n12 features three pairs of speaker outputs that can be used for full 5.1 surround monitoring: front left and right, center and subwoofer, and rear left and right. If you don't need surround capability the outputs can simply be used to switch between different stereo pairs for comparison. When the 5.1 mode is selected all three output pairs are active, with the speaker selectors functioning as temporary mute switches. Bass management is also implemented for optimum matching between the full-range speakers and subwoofer. A down mix switch that lets you instantly collapse the 5.1 outputs to stereo.

- Talkback with Built-in Microphone (n12)

Another n12-specific feature is a built-in talkback microphone and talkback switch with level control for efficient engineer-artist communication. When talkback is engaged the dimmer is also engaged automatically.

- A New Approach to Digital Interfacing

It would be easy to mistake the n8 or n12 for an analog mixer. In fact, that's the way they're designed to look, and function. Although there's extensive digital power and processing capability under the hood, the interface has been distilled down to the functions you really need. If you've ever used an analog console, you'll feel right at home with the n8 or n12 in no time. And that means you'll be able to make music without getting lost in the technology, or having to refer to the manual all the time. Of course you'll want to learn the basics, and how the hardware interacts with the software, but that won't take long and then it's all up to you and your imagination.

- One Function per Control

Another reason the n8 and n12 are eminently predictable and easy to use is that nothing is hidden below the surface. There are no layers, no multi-functions controls ... there isn't even an LCD display. Each and every knob, switch, and fader does exactly what it says it does, and nothing else. Stated another way, that means you always know what you're doing, and there are no surprises to delay your progress.

- 24-bit, 96-kHz Digital Quality/ Built-In FireWire Audio/MIDI Interface/ JetPLL™ Jitter Reduction Technology

What you won't see but will definitely hear is the superb audio quality delivered by the digital technology inside. 24-bit 96-kHz processing is the de-facto standard for professional audio, and that's what's happening inside the n8 and n12 chassis. The extraordinary Sweet Spot Morphing Compressors, channel equalizers, and Rev-X reverb processor are all made possible by state-of-the-art Yamaha digital technology too.

The connection between n series and a computer is possible by one IEEE1394 (FireWire) cable only. n12 is 16 in / 16 out, and transmission and reception of the multi channel audio of 12 in / 12 out are possible for n8. ST Buss, REC Buss, and DAW Buss other than the transmission and reception for every channel are prepared individually. For example, the thing for which no less than two mixes are recorded simultaneously recording the sound inputted into n series to the one-shot recording of the band on an individual track. Furthermore, since the MIDI interface is also built in, and you can connect a MIDI keyboard, and use a software sound source, or connect Hardware MTR and it synchronizes by MTC is also covered.

JetPLL™ is a patent-applied for solution for audio network jitter. The fundamental problem in audio networks comes as more devices with clocks are added to the system - there is a beating of the clocks against each other which creates additive audio band jitter. Traditional solutions involve expensive VCXO's and/or sample rate conversion. There is the further complication of low quality clocks in lower cost devices - as networked products and systems become more common, lower prices for consumer and professional equipment drive manufacturers to use poorer clock solutions. In many cases the variation from the specified clock frequency is so great that it falls outside the ability of many clocking solutions to cope (e.g. >100ppm variance). In such cases equipment simply fails to work. This is not acceptable in either Pro, CE or Prosumer markets. JetPLL™ provides the same performance as traditional, expensive clocking solutions found in the world as of best professional clocking products. JetPLL™ is highly robust and extremely tolerant of wide variations in clock frequencies. As a result, with JetPLL™, equipment just works.

JET and Jitter Elimination Technology are trademarks of TC Applied Technologies Ltd. The JET technology is used under sublicense from TC Applied Technologies Ltd., and is the intellectual property of Sonopsis Ltd.

- Easy Installation and Setup

A streamlined installer makes installing the CUBASE AI software on your Macintosh or Windows PC quick and easy. Once the software has been installed all you need to do is connect the n8 or n12 mixer to your computer's IEEE 1394 (FireWire) port via a single cable and you're ready to record! When you do sit down to start work, Cubase gives you a selection of predefined project templates for the n8 and n12 from which to choose. The templates make most of the time-consuming initial settings for you, so you can get down to the business of making music while you and your ideas are still fresh.

- Tight Integration Keeps You Focused and In Control

The n-series consoles and CUBASE software are so nicely integrated that most of the control you'll need while recording is available right from the console. You have track selection capability as well as full transport control including record arming, cycling and marker placement/location. A monitor remote switch lets you process the input channel and record bus signals with reverb and VST effects supplied by the software, and WET switches make it simple to set up wet monitoring while recording. There's even a remote on/off switch for the software's click (metronome) function. It's all right at your fingertips.

- Dry or Wet Monitoring Control

It depends on the artist, but many would rather monitor themselves with effects such as the excellent VST distortion, phaser and other effects provided with the Cubase software (otherwise known as 'wet' monitoring). It's much easier to play with feeling if you can hear the sound of your voice or instrument pretty much as it will sound when recorded, and this is particularly important for instruments such as guitar or keyboards that are often recorded direct to the console. Setting up for wet monitoring can be tricky and tedious with standard consoles and software, but the n8 and n12 have dedicated switches that let you monitor dry or wet with the VST effects provided by the DAW software applied to any specified track. Where you'd normally have to interrupt the creative flow to make the required connections and settings, the n-series mixers let you keep the music happening. Just one more 'n-factor' that can contribute to inspired performances.

- Work Mode Select

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

- Advanced Integration with CUBASE

The n8 and n12 link seamlessly to CUBASE DAW software, providing extensive mixer/software synchronization that offers unmatched power and efficiency for recording and mixdown.

Some of the synchronized control capabilities are:
- CUBASE® READY LED
- Transport Control / Track Selection / Click Remote
- Work Mode Selection
- Dry or Wet Monitoring
- Project Templates for the n8 and n12

- Project Template for n8/n12

Two templates are provided for the n8 and two for the n12, each including pre-programmed audio I/O and other settings. For production situations you can simply select a template and start recording. The Multi Channel Recording templates assign the console's channels to the CUBASE tracks on a one-to-one basis, while the Stereo Recording template assigns the console's REC bus signals to the appropriate CUBASE tracks.

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