A Hands-On Guide to the n8/n12
Owner’s Manual
24
English
Here are the basics for using your n8/n12 as a stand-alone mixer.

Let’s Hear It!

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...
1.
Make sure that the power to all devices is turned off,
then connect musical instruments, microphones,
and other sound sources to the mixer.
Refer to “Setup Procedure” on page 22 for more
information on connections.
2.
Set all faders on the mixer to minimum.
3.
Turn on the power to all the devices in the
following order: connected instruments and
microphones → 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.
Otherwise, a rather loud noise may blow you away!

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.
1.
Set the [INPUT SELECT] switch of the input
channel that is connected to your musical
instrument to “A.IN.”
When the switch is set to “A.IN,” analog signals will
be input to the corresponding input channel.
A Hands-On Guide to the n8/n12
Caution
• Make sure that the PHANTOM [48V] switch is turned off
() 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
off. Also, set the STEREO faders, [PHONES LEVEL] control,
and other output level controls to the minimum levels.
DI
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.
To send a
monitoring signal
exclusively to
the player,
connect a set of
headphones to
the AUX
PHONES jack.
When you use
condenser microphones,
turn the corresponding
channel PHANTOM [48V]
switches on.
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 signals 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.
When the [INPUT SELECT] switch is set to “DAW,”
you can input signals from Cubase or another DAW
to the input channels. For more information, please
refer to page 43
STEREO BUS L
STEREO BUS R
INPUT
METER
HA
PAD
INPUT A
INPUT CHANNEL
GAIN
PAN
CHANNEL
FADER
INPUT B
DAW IN
PRE
NOTE