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You can easily record song demos and live performances with multiple musicians using the LiveTrak L-8. Just press a button to play intros, outros, jingles, ads and sound effects. With 6 easily-assignable Sound Pads, the right sound is at your fingertips. First-Time Caller, Long-Time Listener
The main headphone output is sourced from the master output while the three other headphone outs can be assigned to the master mix or an independent cue mix. A USB cable and the Zoom AD-17 USB-to-AC adapter are included for powering the L-8 from an AC outlet.You can mix and record live performances, straight to an SD card; which then can be remixed onboard or transferred to a digital audio workstation for deeper editing capabilities. The Zoom L-8 features seven scenes in total, where you can save and customise your mixer settings for instant recall for optimal flexibility. Exceptional audio fidelity and performance Overall handling of the device feels retro (but in a bad way). Some of the options like putting the unit into audio interface mode are not saved, so you have to put the unit into that mode every time you power it up. The L-8’s USB connection is designed to eliminate accidental interruptions, giving you power on which you can rely.
Please note that this extended warranty is currently only available on products sold within the UK, EU or EEA, and is subject to the terms and conditions as detailed on the extended warranty certificate provided. The main stereo mix comes out on two balanced XLRs, and that signal is duplicated on the first headphone output. It’s also available on three more headphone outputs, each of which, like the first, has a dedicated level control. These three can be switched to monitor one of three secondary mixes, Mix A, Mix B and Mix C, of which more below. The headphone amps sound clean and clear and do the job well for most headphones, though with high‑impedance models I found there wasn’t lots of gain in reserve — occasionally frustrating when I was miking quiet sources, but it won’t be an issue for most users. Zoom have been on the cutting edge of this kind of stuff for years. The companies continued dedication to location recording and portability have seen them emerge as something of an industry standard for anyone working in the video/sound design/content space. If it involves audio and a location, chances are you will find a Zoom product somewhere in the vicinity, such is the companies omnipresence in the field. All rest of the functionality like ABC Mixes, effects and Audio Interface mode only work in 41kHz mode. It’s important to understand that the Mixes store only the fader settings: the Gain, Pad/Hi‑Z, Select, Channel Strip and Mute status aren’t recalled. But more settings can be stored in what Zoom call Scenes. Several settings are stored in each Scene: the fader positions (for every channel, including EFX RTN and Master); Mute status; all Channel Strip settings; the selected effect patch and parameters; and the input source selection for channels 7+8.
HEAR YOURSELF TALK
For a mixer that looks to be more geared towards the content creation crowd, the L-8 really has no business being as musical as it is. You can use the unit as a class compliant audio interface ONLY IF you power the unit with batteries!!! Only USB host controllers with Intel Chipsets are supported. Operation is not guaranteed when used with USB hubs or expansion cards. As a digital mixer, the LiveTrak L‑8 is fairly simple, in that all the input channels are permanently routed to the master stereo bus. There are no subgroup buses or, other than one that goes directly to the internal effects engine, aux sends. That effects send is available to all channels except, obviously, the effects’ stereo return channel and the stereo master mix channel. However, some behind‑the‑scenes digital sophistication means that it is still perfectly possible to create and distribute different cue mixes, or send signals to external processors/effects.
The host and each guest in your podcast should clearly hear the content of your production. The L-8 offers four 1/4″ stereo headphone outputs with independent level controls and mix selectors. Input channels 7 and 8 are shared with output 1/2 and 3/4 correspondingly, when used in audio interface mode. So you can not hear the output from the host, when you are recording from those channels. Recording Media: 4GB–32GB SDHC-compliant cards (Class 10 or higher) 64GB–512GB SDXC-compliant cards (Class 10 or higher) Recording with overdub is definitely is not the overdub you know from DAWs, so don't expect it to work like a guitar looper. Each of the eight input channels has its own fader, mute (but not solo) and Select buttons, and when a channel is selected you can tweak further parameters in the Channel Strip section. This has five continuous rotary encoders and a (12dB/octave 75Hz) high‑pass filter button. Each encoder is circled by 13 LEDs, but as each LED has five levels of brightness and they light in combinations you’re treated to a finer level of indication than first sight suggests. A very minor gripe is that the height of the knobs means they obscure some LEDs’ default positions (eg. centre pan) when you’re seated, with the L‑8 on your desktop. The encoders control panning, the effects send level and a three‑band EQ, comprising high (10kHz) and low (100Hz) shelves and a peaking mid band (2.5kHz). Each band can boost up to ±15dB, again in fine enough steps that you have plenty of control.I've bought this mixer to route my external synths into the Maschine+ which is running in standalone mode. Conveniently run the L-8 in remote locations via four AA batteries—up to 2 hours via alkaline batteries, up to 3.5 hours via 1900 mAh NiMH batteries, or up to 6.5 hours via lithium batteries (batteries available separately).
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