There's also 48V phantom power (applied in two banks of four) via the XLR input sockets, a 26dB pad switch, and an amplifier control capable of providing 44dB of gain. Each of these channels can be fed via an XLR or quarter-inch jack socket, and includes an insert point on a standard jack connector. The eighth differs only in that it sacrifices a phase-reverse switch for one that allows you to select a hi-Z input for connecting electric guitars and basses. Of the available 12, channels one to seven are identical. The channel strips are on the left, with the Control Room and DAW Remote controls to the right of them. The layout is fairly conventional, with all the I/O (apart from the two headphone outputs, which are sensibly positioned alongside their level controls on the top right-hand corner), found on the rear panel, and all the controls on the top surface. The N12 is fairly large, measuring 561mm front to back and 517mm across, which allows for a nice, spacious distribution of the controls. The latter will also work with Cubase 4 and Studio 4 (it doesn't work with versions prior to Cubase 4). CUBASE AI DOWNLOAD YAMAHA SOFTWAREThis is still a cut-down version of Cubase, but is more fully-featured than most, and it is further supplemented by the Extensions for Steinberg DAW software (a program that effectively links mixer with software, so that the two operate together seamlessly). Rather than the usual copy of Cubase LE/Essentials that ships with many other-brand small mixers, you get the 'Cubase AI 4 Integrated Music Production System'. The raison d'ĂȘtre of this product is clearly integration, and Yamaha have paid as much attention to software as to hardware. For monitoring all this, there's also a comprehensive Control Room section and a multi-bus meter display. CUBASE AI DOWNLOAD YAMAHA UPGRADEYou get full 5.1 surround facilities (although Cubase AI 4 doesn't support this, so you'll have to upgrade to take advantage of these features) and quite a number of separate signal buses. All this takes only a few button presses and, of course, as the mixer is digital, it requires no additional A-D/D-A conversion. Perhaps more significant is its ability to mix up to 16 channels sent to it from Cubase via Firewire, and add processing via its on-board channel dynamics and EQ before returning a stereo mix back into the sequencer for recording. When it is hooked up to Cubase via its Firewire interface, you can record up to 16 simultaneous signals, using sample rates of up to 96kHz at 16- or 24-bit resolution. While the N12 may be a mixer for musos, it is also a serious piece of kit that's capable of being the heart of a home or project studio. a musician-proof digital desk, if you like. It is about as far away in concept and feel from the 01X as a digital mixer could get. So there may be no fancy moving faders, but there are lots of buttons that are (at least when in the same mode) dedicated to a single function. The design philosophy behind the N-series, which comprises the N8 and N12, is simple: digital mixers that integrate seamlessly with your DAW (see the 'Soft Centre' box elsewhere on this page), but feel and sound like an analogue desk. The Yamaha N-series digital mixers are the first such products to emerge from this partnership. So when Yamaha acquired Steinberg, it seemed only a matter of time before we would see them releasing hardware products that enjoyed a deeper level of integration with Cubase and Nuendo. Many of you will probably remember the support included for Yamaha products (such as the DSP Factory card and their XG synth standard) in earlier versions of Cubase, and more recently functionality to make the most of Yamaha's 01X. Yamaha and Steinberg have a relationship that goes back to long before the Japanese corporation bought Steinberg in 2004. Could the N12 be the centrepiece of your project studio? Designed to integrate with Cubase, and featuring new preamps and compressors, Yamaha's N-series digital mixers have been causing quite a stir.
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