Español Français Deutsch English Owner's Manual Bedienungsanleitung Mode d'emploi Manual de instrucciones EN DE FR ES
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.
FCC INFORMATION (U.S.A.) 1. IMPORTANT NOTICE: DO NOT MODIFY THIS UNIT! This product, when installed as indicated in the instructions contained in this manual, meets FCC requirements. Modifications not expressly approved by Yamaha may void your authority, granted by the FCC, to use the product. 2. IMPORTANT: When connecting this product to accessories and/ or another product use only high quality shielded cables. Cable/s supplied with this product MUST be used. Follow all installation instructions.
Table of Contents Welcome .......................................... 5 Features ........................................... 5 Included items (please check) ....... 5 Turning On and Off the Power to the Mixer ................................................ 8 English Before Turning On the Power to the Mixer .............. 8 Turning the Power On and Off ................................ 8 Recording Basics ............................ 9 Techie Words? Don’t Be Afraid. ..............................
Welcome 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 AI4. Connecting a computer to the mixer’s IEEE 1394 port enables you to configure an ideal recording environment.
PRECAUTIONS PRECAUTIONS PLEASE READ CAREFULLY BEFORE PROCEEDING * Please keep this manual in a safe place for future reference. WARNING English 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 to, the following: Power supply/Power cord • Only use the voltage specified as correct for the device.
PRECAUTIONS Maintenance • Remove the power plug from the AC outlet when cleaning the device. Handling caution • When 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. • Do not insert your fingers or hands in any gaps or openings on the device (vents, ports, etc.). English • Avoid inserting or dropping foreign objects (paper, plastic, metal, etc.
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 Turning the Power On and Off 1. Make sure that the mixer’s power switch is in the 1. To turn the power on, press the mixer’s power English STANDBY position. switch to the ON position. 2. To turn the power off, press the power switch to Warning Use only the included power adaptor (*PA-30 for the n12, PA20 for the n8 or an equivalent recommended by Yamaha).
Recording Basics Recording Basics Signals — Level and Decibel Balanced or Unbalanced? 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.
Recording Basics This is why balanced lines excel at rejecting noise. noise hot (+) synthesized signal cold (–) English phase inversion ground (GND) transmitter phase inversion noise canceling cable Connector Variations Audio devices feature various types of connectors.
Recording Basics Inside Your Mixer 4 Channel fader 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 5 Bus master section Input channel signals are routed to buses, mixed together there, then output in stereo (master).
Recording Basics 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.
Front and Rear Panels Front and Rear Panels Channel Control section 1 [GAIN] control 1 Monaural input channel 4 2 5 3 6 [PAD] switch is on ( ). The level can be adjusted between –34 dB and +10 dB. [PAD] switch is off ( ). The level can be adjusted between –60 dB and –16 dB. English 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 (2).
Front and Rear Panels Caution English • Be sure to leave this switch off ( ) if you do not need phantom power. • When turning the switch on ( ), make sure that only condenser microphones are connected to the INPUT A jacks. Devices other than condenser microphones may be damaged if they are connected to the phantom power supply. Note, however, that the switch may be left on when you connect balanced dynamic microphones.
# [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 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.
Front and Rear Panels Master Control section and rotating it clockwise will extend the duration. 1 REVERB [LEVEL] control This control adjusts the output level of the internal digital reverb. The “▼” position corresponds to the nominal level (0 dB). English [TO AUX]/[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.
Front and Rear Panels Meter section n12 n8 1 7 2 8 ) 9 @ ! 1 Microphone 2 [SOLO LEVEL] control Only This control adjusts the SOLO L/R bus output level. The adjustable range is from –∞ to +6 dB. The “▼” position corresponds to the nominal output level (0 dB). 3 [DAW TO AUX] control This control adjusts the level of the signal routed from the DAW AUX output (n12= DAW IN 15/16, n8= DAW IN 11/12) to the AUX buses. The “▼” position corresponds to the nominal output level (0 dB).
Front and Rear Panels Control Room section n12 n8 1 2 3 3 7 4 English 6 4 6 5 8 5 1 C-R SPEAKER SELECT switches Only These switches select the jacks that will output the control room monitor signal. When you turn on one of the switches, the LED lights up, and the corresponding jacks output the monitoring signal.
Front and Rear Panels DAW Remote Control section n12 n8 1 1 4 5 2 3 7 7 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 AI4. For more information on the Cubase Link function, please refer to page 33. 1 WORK MODE switches These switches enable you to change the connection status between the n8/n12 and Cubase all at once.
Front and Rear Panels Rear I/O section n12 English 9 !@ n8 9 8 7 8 ) 4 6 5 ) 4 ! @ 6 3 2 3 5 1 2 1 ANALOG INPUT jacks (monaural) 3 ANALOG INPUT jacks (stereo) 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). 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.
Front and Rear Panels 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.
Setting Up the Mixer Setting Up the Mixer Setup Procedure 1. Before connecting microphones and other NOTE English instruments to the mixer, make sure that the power to all devices is turned off. Also, make sure that all of the mixer’s channel faders and master control faders are set all the way down. You cannot use both INPUT A and INPUT B jacks for each input channel. If you connect cables to both jacks, INPUT B will be used and INPUT A will be disabled. 3.
Setting Up the Mixer n8 Setup Example (Home recording) microphones guitar, bass (Hi-Z) effects unit (DI) external recorder English MIDI cable guitar, bass sound source (CD, MD, DAT, etc.) IEEE 1394 cable MIDI cable synthesizer, rhythm machine external effects unit player’s headphones control room headphones computer monitor system Installing Monitor Speakers The position of the monitor speakers is very important for accurate sound monitoring.
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! 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... 1. Make sure that the power to all devices is turned off, then connect musical instruments, microphones, and other sound sources to the mixer.
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. ST OUT SOLO 3. Turn the [PAD] switch on or off for each monaural input channel, depending on the connected instrument or microphone. DAW 4.
A Hands-On Guide to the n8/n12 3. Players want to hear what is going on. Use the Adjusting the volume level Adjust the volume level while monitoring the input channel signals. 1. Press the STEREO [ON] switch in the Master Control section to turn it on, then raise the STEREO fader to the “0 (0 dB)” marking on the fader scale. 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).
A Hands-On Guide to the n8/n12 3. Adjust the volume level of the input channels to English 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 STEREO bus signal in the Control Room.
A Hands-On Guide to the n8/n12 Making Great Mixes Manipulating compression English 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.
A Hands-On Guide to the n8/n12 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.
English A Hands-On Guide to the n8/n12 Panning and balancing Mixing into stereo “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.
A Hands-On Guide to the n8/n12 INPUT CHANNEL INPUT A PAN REVERB BUS L REVERB BUS R STEREO BUS L STEREO BUS R 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.
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.
Using the n8/n12 with Cubase 4/Cubase Studio 4/Cubase AI4 Using the n8/n12 with Cubase 4/Cubase Studio 4/Cubase AI4 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. You must have Cubase 4, Cubase Studio 4, or Cubase AI4 to use the Link function.
Using the n8/n12 with Cubase 4/Cubase Studio 4/Cubase AI4 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.
Using the n8/n12 with Cubase 4/Cubase Studio 4/Cubase AI4 5. Select Device Setup from the Devices tab to ■ Macintosh: display the device setup window. mLAN MIDI In/n12 (n8) Remote column 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.
Using the n8/n12 with Cubase 4/Cubase Studio 4/Cubase AI4 8. From [Editing], select [Project & Mixer], and in the dialog box, make sure that “Sync Project and Mixer Selection” is checked. If this is not checked, click the check box so that a check mark appears. After you have verified this, click [OK] to close the dialog box. 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.
Using the n8/n12 with Cubase 4/Cubase Studio 4/Cubase AI4 Using the Link Function 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 locating a marker Record Enable button on/off adding markers track selection Selecting the Work mode The n8/n12 enables you to select the output destination of Cubase audio tracks using just one switch.
Using the n8/n12 with Cubase 4/Cubase Studio 4/Cubase AI4 ■ HARDWARE MIX n8/n12 Cubase English AUDIO TRACK AUDIO TRACK AUDIO TRACK AUDIO TRACK In the n8/n12 project templates, each audio track send has already been assigned to the n8/n12 AUX bus. By adjusting the send level for each audio track in Cubase in the same way as when you create a musician’s mix by using the n8/n12 [AUX] control, you can create a musician’s mix.
Using the n8/n12 with Cubase 4/Cubase Studio 4/Cubase AI4 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 Turn this on (LED lights up).
Using the n8/n12 with Cubase 4/Cubase Studio 4/Cubase AI4 5. Make sure that the Record Enable button is on English (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 record the signals without any VST effect being applied, proceed to Step 10.
Using the n8/n12 with Cubase 4/Cubase Studio 4/Cubase AI4 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.
Using the n8/n12 with Cubase 4/Cubase Studio 4/Cubase AI4 ■ 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 5 to 7 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 English switch LED lights up).
Using the n8/n12 with Cubase 4/Cubase Studio 4/Cubase AI4 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. ■ n12 1.
Using the n8/n12 with Cubase 4/Cubase Studio 4/Cubase AI4 Use one of the following three methods to route Cubase audio tracks to the n8/n12. ■ Assign each audio track to an input channel individually This method is useful when you want to mix a solo part or other important parts.
Using the n8/n12 with Cubase 4/Cubase Studio 4/Cubase AI4 5. If the Cubase track outputs are routed to the n8/ Cubase n8/n12 AUDIO TRACK INPUT CHANNEL AUDIO TRACK INPUT CHANNEL AUDIO TRACK INPUT CHANNEL AUDIO TRACK INPUT CHANNEL AUDIO TRACK 1. Select [Project] → [Add tracks] → [Audio]. 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.
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. English NOTE Cubase 4 is required in order to use the surround monitor functionality. The included Cubase AI4 does not support surround monitoring, and cannot use the surround monitor functionality.
Monitoring in a Surround Sound Environment (n12 only) 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 tracks. NOTE 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.
Replacing the Sweet Spot Data Replacing the Sweet Spot Data English 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.
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: A dedicated driver (Yamaha AI Driver) must already be installed and set up properly. NOTE If you are using a typical DAW (other than Cubase), you will be able to do the following.
Using the n8/n12 with Software Other Than Cubase For Digital Performer Users To input and output the MIDI signals with D.P.5, you will need to set the MIDI driver. 1. Select [Application] → [Utilities] → [Audio MIDI Setup] to display the “Audio MIDI Setup” window. The MIDI driver is shown as “mLAN Network.” 2. Click [Add Device] twice to add two external devices. 3. Connect the input/output plugs for the MIDI English driver to those for the new external devices.
Using the n8/n12 with Software Other Than Cubase Using the n8/n12 along with a multimedia application To use the n8/n12 with a multimedia player such as Windows Media Player or Quick Time Player, you must make the following settings: ■ Windows: ■ Macintosh: 1. From the Start menu, select [Settings] → [Control 1. From the Apple menu, select [System Panel] → [Sounds and Audio Devices] The Sounds and Audio Devices dialog opens. Preferences...] to display the “System Preferences” window. 2.
Using the n8/n12 with Software Other Than Cubase 6. Select [Stereo], then click [Apply]. After making the setting, click [Done] and close the “Audio MIDI Setup” window. ■ Surround monitoring Only 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. ■ Windows: 1. From the Start menu, select [Settings] → [Control Panel] → [Sounds and Audio Devices].
Troubleshooting Troubleshooting ■ No sound is heard, or the sound is too faint. • The cable that connects the mixer and the external device may be damaged. • Make sure that a signal from an external device or the DAW is being sent to the n8/n12's input. • The volume of all connected tone generators and playback devices must be set to an appropriate level. • The gain must be set to an appropriate level. • If you are connecting a condenser microphone, the Phantom [+48V] switch must be turned on.
Troubleshooting information, refer to the owner’s manual for the computer, or contact the manufacturer of the computer. • (Windows) Some network adaptors can cause noise. In such a case, use the Device Manager to disable the suspected network adaptor to remove the noise. English ■ The CUBASE READY indicator does not turn on. / Cubase cannot be remotely controlled. • Make sure that the Extensions for Steinberg DAW software has been installed properly.
Troubleshooting ■ Cannot use other connected IEEE1394-equipped devices correctly. • Turn the driver (Connection Manager) off. (Windows) Right-clicking the driver icon on the task bar, then select [OFF]. (Macintosh) Click the driver icon on the status menu, then select [Connection Manager] → [OFF]. English ■ The computer processing speed is too slow. / The computer’s CPU meter indicates a heavy processing load. / Playback response is delayed.
Index Index Numerics G R 2TR IN ......................................... 20 2TR TO ST .................................. 16 5.1 ........................... 18, 25, 46, 52 5.1 MIX ................................. 19, 38 GAIN ..................................... 13, 29 REC ...................................... 15, 19 Recording .................................... 39 Reverb .................................. 14, 16 REVERB (LEVEL) ....................... 16 REVERB (TIME) ..........................
Appendix Appendix Specifications 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.
Appendix General Specifications Faders Power Requirements Dimensions (H × D × W) English Net Weight n12 100 mm × 11 (Non-motorized) n8 60 mm × 7 (Non-motorized) n12 51 W (PA-30) n8 33 W (PA-20) n12 146 × 561 × 515 mm n8 146 × 518 × 368 mm 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 AI4) CD-ROM (TOOLS for n) Owner’s Manual TOOLS for n/Cubase AI4 Installation Guide IEEE 1394 cable
Appendix –∞ to +6 dB (to STEREO bus)/0 dB (to C-R) ON Switch ON/OFF AD Converter Outputs CH1–12, 2TR IN, DAW, REVERB, RETURN signals STEREO ON Switch C-R OUT The BASS MANAGEMENT function works in the surround sound system (Only n12).
Appendix Bus connections of n8/n12 and DAW Cubase 4/Cubase Studio 4/Cubase AI4 By installing “Extensions for Steinberg DAW” and using the templates, the input/output buses in Cubase are assigned to the device as follows. Cubase Output Output Bus English Input Bus DAW TO ST-L 5.1(L) CH1 Direct Out → n12 Direct Out 1 n12-Dir1 n12 Monitor R → DAW TO ST-R 5.1(R) CH2 Direct Out → n12 Direct Out 2 n12-Dir2 n12 Monitor 9/C → Input Channel 9 5.
Appendix Other Applications ■ Windows (SONAR 5/Windows Media Player): ASIO Driver Input Device Port 5.1(L) CH1 Direct Out → ASIO mLAN mLAN01 ASIO mLAN mLAN02 → DAW TO ST-R 5.1(R) CH2 Direct Out → ASIO mLAN mLAN02 ASIO mLAN mLAN03 → Input Channel 9 5.1(C) CH3 Direct Out → ASIO mLAN mLAN03 ASIO mLAN mLAN04 → Input Channel 10 5.1(LFE) CH4 Direct Out → ASIO mLAN mLAN04 ASIO mLAN mLAN05 → Input Channel 11 5.
Appendix ■ Macintosh (Logic Pro7/D.P.5): Logic Pro7 English Output Device Port n12 Input Deutsch Input Device Port → DAW TO ST-L 5.1(L) CH1 Direct Out → Input 1 Output 2 → DAW TO ST-R 5.1(R) CH2 Direct Out → Input 2 Output 3 → Input Channel 9 5.1(C) CH3 Direct Out → Input 3 Output 4 → Input Channel 10 5.1(LFE) CH4 Direct Out → Input 4 Output 5 → Input Channel 11 5.1(Ls) CH5 Direct Out → Input 5 Output 6 → Input Channel 12 5.
Appendix Dimensional Diagrams [n12] 145.8 Français Deutsch 560.8 English 515.0 [n8] 145.31 517.
IEEE1394 DAW I/O [+4dBu] R ECM 16 16 [-10dBV] [-10dBV] L TALKBACK n12 2TR IN R [-10dBV] [+4dBu] L (MONO) GAIN HA A/D A/D A/D ON OFF A/D n8 : DAW OUT [1-12] DAW OUT [1-16] n8 : DAW IN [1-12] DAW IN [1-16] DAW AUX L DAW AUX R DAW IN [15] DAW IN [16] n12 n12 : DAW IN [11] (To INPUT CH[5]) n8 : DAW AUX L n12 : DAW IN [12] (To INPUT CH[6]) n8 : DAW AUX R n12 : DAW IN [13] (To INPUT CH[7]) n12 : DAW IN [14] (To INPUT CH[8]) DAW IN [7-10] (To INPUT CH[1-4]) DAW IN [7] DAW IN [8] DA
MIDI Implementation Chart Recognized Transmitted Function... Basic Channel Default Changed x x x x Mode Default Messages Altered x x ************** x x x x *1 x *1 x Note Number : True voice ************** Velocity Note ON Note OFF x x x x After Touch Key's Ch's x x x x x x x x x ************** x x System Exclusive x *1 x *1 Common : Song Pos. : Song Sel.
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