Owner's Manual: For Software Version 3
Owner's Manual: For Software Version 3
Owner's Manual: For Software Version 3
2
15 May 2013 5:01 PM
Owner’s Manual
For Software Version 3
Contents
Introduction 3 Modifications 29
about This Manual 4 Modification 1 - Insert Point Post/Pre eQ 29
Terminology 4 Modification 2 - Installing additional Modules 29
Quickstart 4 Block Diagrams 30
Installation 5 Channel & Input Block Diagram 30
Health & safety 5 Group amps 31
Connections 5 stereo Mix & Outputs 32
Master section rear Panel 6 Cr Monitor 33
Channel Bin rear Panel 8 auX Headphone & stereo returns 34
Operation 9 ancillary 35
Powering up 9 Dimensions 36
The Power supply and soft start 9 32 Channel Frame 36
retro and Modern Circuitry 10 24 Channel Frame 36
The 2081 Module 12 16 Channel Frame 36
Meterbridge 12 recall sheets 37
Input Module 13 wiring Diagrams 40
auxiliaries 13 Xlr Connectors 40
2081 eQ 14 1/4” Trs & Ts Connectors 40
Monitor path, Channel Output & retro 14 DB25 Connectors 40
Channel Path Fader 15 Master section rear Panel 41
Master section 16 7.1 Inputs 41
Metering 17 surround spk (alt2) 41
2254 Compressor 18 reverb (stereo) returns 42
2254 Compressor Meters 18 speakers 42
2254 Controls 18 aux sends 42
limiter 19 sls, red light, TB, listen 42
assign section 19 Headphones 43
Channel routing 19 Mix Insert, 2 Trk 1,2 43
Channel Functions 19 Mix Outs & 2254 43
scenes 20 Group Outputs/Insert sends 43
Custom user Features 20 stem Outputs 44
Oscillator & sls 21 Daw/Ins return 44
Oscillator 21 Channel Bin rear Panel 45
sls 21 Channel Insert sends 45
Group send/returns 22 Channel Insert returns 45
reverb returns 23 Daw Inputs 45
auxiliary Master section 23 line Inputs 45
Headphone sends 23 Direct Outputs 46
Channel Meters/Master Meters 24 Glossary 47
Channel Meter Controls 24 amplifying stages 47
Master Meter Controls 24 Channel Bin 47
Console/Channel Modes 24 Current summing 47
Control room 26 Modern Output stage 47
Control room Volume and Controls 26 retro Output stage 47
Monitor source 26 stem Outputs 47
Control room Headphones 27 Voltage summing 47
solo 27 Credits 48
Talkback and listen Mic 27
Faders 28
2
band EQ is straight from the 1081, while the output amp
Introduction is based on the 1970’s BA283, single ended, class A
circuitry with a gapped core transformer, as used in the
With the release of the 1073 mic preamp/EQ in 1970, 1073 and 2254. Five auxiliary sends, fader swap and a
and the 1081 released in 1973, Neve’s classic circuitry choice of either classic or modern channel output circuitry
has consolidated their position in the professional audio are provided.
industry. Since then, a desire for “cleaner” recordings
using modern circuitry has resulted in classic circuitry Two 2254 compressors, four stereo reverb returns,
becoming an option – but not the only option. eight recallable scenes, monitoring of up to 12 sources
simultaneously and comprehensive 7.1 monitoring are
The development of technology and the digital world just some of the features found in the master section.
cannot be ignored.
Available in a 16, 24, 32, 40, 48, 56 or 64 module
With these two mindsets clear, the Custom Series 75 has chassis, the Series 75 is flexible and able to suit a variety
achieved a world first, the combination of classic circuitry of studio applications from broadcast to music and even
and modern circuitry in one console. film production.
The classic Neve circuitry has been painstakingly re- Designed specifically for longevity, gold plated switches
created, keeping faithful to the original whilst taking and connectors have been used for all audio circuits, and
advantage of modern assembly methods. The original all parts have been selected on their projected availability
circuits have only been changed where justified by an many years from now. All capacitors in the signal path are
improvement in reliability or performance. Rather than polypropylene film or Rubycon ZLH series electrolytic,
running the length of the console, the voltage summing chosen for superb sonic performance and long life.
busses are a mere 150mm long and they are now Ergonomic design allowing the engineer to reach any
balanced, resulting in lower noise and less crosstalk. parameter on the board from a seated position (up to
Other “charming quirks” of the original circuits such 32 Channels) make this console a workstation that is
as the level onto busses varying as more busses are comfortable for long hours, flexible for countless practical
assigned from a channel, have been overcome. Improved and creative applications, and unbeatable for sonic
BA338 amplifying stages and legendary BA283 output character or transparency!
stages combined with classic Neve LO1166 output
transformers, sound warm, defined and punchy. The Custom Series 75 is a console that is here to stay.
3
about This Manual Quickstart
This manual is designed for software Version 3.0, and If you don't want to read the complete manual, you can
should be used as a quick reference for owners of the start with the most important sections below:
Custom Series 75 console, not to be read cover to cover,
but as an accompaniment helping you to get to know » Installation:
your new console. Important terms can be found in bold http://www.customseries75.com/pdf/
allowing you to skim through to the exact section on a health_safety_installation_connections.pdf
page that is relevant.
» Power up Procedure:
http://www.customseries75.com/pdf/operation.pdf
Terminology
» Master section:
Extensive use of terminology, of which we feel it http://www.customseries75.com/
necessary to define before continuing, is used throughout pdf/master_section.pdf
this manual. Make sure you are familiar with this before
continuing. The glossary located at the end of the manual » Channel strip:
may also assist! http://www.customseries75.com/
pdf/2081_module.pdf
Module - To avoid confusion between a Channel and
the Channel path, 'Module' has been used instead to This will give you a starting point from which you can
distinguish the physical modules that contain both the come back and print out sections that you are interested
Channel path and Monitor path. in.
4
Installation
On the rear panels of the Custom Series 75 you will find the input and output connections on a combination of DB25,
TRS and XLR connectors. The wiring diagrams for each connector can be found in the Wiring Diagrams section of this
manual.
5
Master section rear Panel
7.1 Input
Main Spk
R L
2Trk1 Mon In
Reverb (Stereo) Returns
R L
Speakers
Mix Out
R L
Aux Sends
model type
serial no.
SLS, Red Light, TB, Listen Made in Australia
WARNING N25549
DISCONNECT PSU LEAD
BEFORE REMOVING MODULES
Headphones Group Out/Ins Send NO USER SERVICEABLE
PARTS INSIDE.
REFER TO MANUAL
Console Power
Mix Insert, 2Trk 1,2 Stem Out
Serial
Connectors for the Main spk l & r and Mix Out can be surround spk (alt 2)
found on both XLRs and DB25. It is recommended that
the DB25 connectors be used. The XLRs may come in Up to 8 surround monitors can be connected here. When
handy for guests who prefer to supply their own monitors, Alt 2 is selected as the monitor source in the Control
or if a 2 track recording of a mix on a portable device is Room section, the group cuts and solos will effect the
desired. eight individual speaker outputs. Note that a third set
of stereo monitors could be connected here if surround
The 2Trk1 Mon In is an external input to the Control monitoring is not desired.
Room monitor section (2T1). Available on both DB25 and
XLR for convenience.
reverb (stereo) returns
7.1 Input These inputs feed the four stereo Reverb Returns.
Naturally, the output of outboard effects, a patch bay, or
DAW outputs or a device containing up to 8 outputs may XLR connectors could be wired here.
be connected here; the 7.1 Input feeds the Control Room
monitor section and can be selected here in order to
monitor up to 8 channel surround sound via the Surround
Spk (Alt 2) outputs.
6
speakers Mix Out, 2254
Carries the Main Speaker Outputs, Alt 1 and Monitor There are two separate mix outputs on the Series 75,
Mix Output signals. In an ideal world, the Main Speaker Modern and Retro. See Modern Output Stage and Retro
Outputs and Monitor Mix Outputs will be connected to the Output Stage for details. Modern Mix Outputs appear
main studio speakers. Alt 1 would be connected to your on channels one and two. Retro Mix Outputs appear on
secondary studio monitors. channels three and four.
7
Channel Bin rear Panel
DI Inputs
8 7 6 5 4 3 2 1
Mic Inputs
Send
Return
On the rear panel of each Channel Bin you will find eight line In
balanced Mic Inputs (XLR) and eight DI inputs (1/4").
Daw Inputs and line Inputs are available on DB25 Envisioned connection is the output of external devices
connectors. These feed the input of each 2081 Module. (such as outboard effects or any other line level devices).
Mic Inputs are supplied Phantom Power on a per-channel These may feed the Monitor path or the Channel path
basis. dependent on the state of the module Input selection.
Daw In
Connect the outputs of your DAW here. These may feed
the Monitor path or the Channel path dependent on the
state of the module Input selection.
8
Operation
Powering up The Power supply and
The Custom Series 75 is powered by an external Power soft start
Supply, and utilises Soft Start Technology.
A large current is needed to power the console. A circuit
To ensure a safe power up, observe the following board containing a microchip (known as the soft start
procedure. board) slowly ramps the voltage up to the required
amount. This procedure stops the power supply from
1. Switch off Mains Power. drawing to much power and tripping the mains circuit. In
the event that the console does not power up, the Green
2. Double check that the 115/230V Voltage Selector light will not indicate on the front of the Power Supply,
on the rear of the Power Supply is in the correct and instead the red Fault light will be active.
position in relation to your mains supply.
This indicates that one of the following errors has
3. Connect the cable from the rear of the Power occurred:
Supply to the rear panel of the consoles Master
Section. Align one of the two tabs on the » The 115/230V Voltage Selector, found
outside housing of the power cable, with the on the rear of the power supply, may
Centre Tab indicated on the image below. Slot be in the incorrect position.
the power cable into the connector on the rear
panel of the Master Section. Screw the outside Or
housing of the power cable into the rear panel
connector ensuring that it locks into place. » One or both of the two fuses found on the
Soft Start circuit board may have blown –
4. All audio outputs are automatically muted power down, remove the lid of the Power
during the consoles power up procedure. Supply, and locate the two fuse holders found
adjacent to the 115/230V Voltage Selector
5. Switch the Power Supply on using (this is rare, generally there will be a reason
the two position switch located on the fuse has blown – it is highly recommended
the front panel, up is on. that the power supply be professionally
serviced). Replace with 6 aMP fuses.
The Green Light on the front of the Power Supply should
light. Due to the classic circuitry, the console will take If neither of the above solutions fix the problem, have the
15 seconds to stabilise during which all meters will light Power Supply professionally serviced.
before returning to the default view.
9
retro and Modern Typical setups
Circuitry The following outlines how to achieve both Retro and
Modern sounds in a record, mixdown and overdub
The Custom Series 75 console can achieve the Retro environment. Keep in mind that these are not the only
sound of classic 1970’s circuitry, or the Modern sound scenarios possible. For further assistance, please consult
of modern circuitry. There are a few ways in which these the block diagrams.
sounds can be achieved, however the true versatility of
the Custom Series 75 is realized with the combinations of
both Retro and Modern circuitry. recording
If you would like to quickly compare the sound of the Retro
Voltage and Current summing busses (see the Glossary
for definitions of these), and the Retro and Modern output Using a typical signal path for recording, i.e.
stages, try the following. Please then read on for a more
in depth explanation of the signal flow. Mic Input [Ins-pre] 2081 EQ
4. For now, select MODERN OP in the The resulting recorded signal will be marginally
Monitor Source section so that the main ‘coloured’.
output stage remains uncoloured.
Modern
5. By switching between Scene 1 and Scene
2 you will hear the difference between each To record a clean signal (transformerless), bypass the
summing bus. The stronger the signals are L01166 Output Transformer by patching the Insert Send
driven the more obvious the colouration will be. directly to the Multi-Track Inputs. The Input Gain and Trim
on the Channel will now be the only level to the Multi-
6. Now, toggling between MODERN OP Track. Engaging Fader Swap (depressing the High Pass
and RETRO OP in the Monitor Source Filter Selector) will result in the Fader controlling the level
section will enable you to hear the of the Multi-Track return, which may be more comfortable.
difference between both output stages.
Fader Swap can be engaged globally in the Console
Modes section of the Master Panel.
10
Mixdown Groups
There are two selectable mix busses present in the Keep in mind that each of the eight Groups contains
Custom Series 75. One is based on Voltage Summing both a L0468 Input Transformer and an LO1166 Output
technology, the other on Current Summing technology Transformer. If a Channel is routed to a Group, it is
- see the Glossary for explanations of each of these. summed on a Current Summing Mix Bus (the Group Mix
Further, there are two selectable main mix outputs, the Bus) before being passed through both transformers and
Retro Output (LO1166 Transformer) and the Modern fed to the Main Mix Fader.
Output (transformerless).
The Groups are also patchable via the ‘8Trk Play/Ins Ret’
retro and the ‘Group Out/Ins Send’ DB25’s on the rear panel
of the Master Section, or could be made available on a
On the 2081 module of the Custom Series 75, selecting patchbay.
RETRO assigns the Channel Output to the Voltage
Summing Mix Bus. Further experimentation
Modern
Current Summing
[Ins-post] Fader
Mix Bus
11
N2081
3
2
4
Meterbridge
5 6
6
48
54
+48V
0 60
150
AUX A
R
6.8
0 +8 0 +8
6.8
5.6
1.8
2.2
2.7
HI Q
-4 -4
4.7 3.3
3.9
-3 -8 -3 -8
Two stereo and three mono Auxiliary OFF
220 - GAIN + -12 -12
1.2k 270
-20 -20
depressing the level control. OFF
33
56
- GAIN +
100 -10 -24 -10 -24
180
330
offers the classic sonic flavour of the -20 -36 -20 -36
LINE
MON 10
L PAN R
12
Input Module auxiliaries
The Input Module hosts the Each module contains two
N2081
Channel Input Selector, Gain AUX B
stereo (A & B) and three mono
and Trim, Phase, 48V, and (Aux 1, Aux 2, Aux 3) auxiliary
High Pass Filter. All buttons L PAN R sends. The order in which
1 2 are recallable using the Auxiliaries 1 to 3 are accessed
AUX A
consoles scenes. is bottom to top respectively.
3 4
A & B are situated above the
5 6 The Input Selector cycles three mono sends. All features
through the four available other than the level controls
7 8
Channel path inputs. Mic, AUX 3 in the Auxiliary Section are
FADER MAIN
SWAP MIX
DI and DAW are indicated recallable.
0 by LEDs, when no LEDs are
active the Channel input is auxiliary 1, 2 and 3 have
O Line. Once the desired input individual level controls.
AUX 2
has been selected, Phantom auxiliary a and auxiliary B
30
18
24 36
42
-10 TRIM 10 Power (48V), Gain and Trim are stereo sends that share
12 48 +48V
controls will adjust the input a level control. All Auxiliary's
6 54 signal level. The 12 position default position is pre-fader on
0 60
66 gain switch (0dB → 60dB) will AUX 1 the Channel path. When the
MIC/DI GAIN
INPUT
allow an approximate gain level controls are depressed,
MIC DI DAW
100
value to be reached. The trim they cycle through the
50 150
control will adjust the input conventional positions in the
signal more precisely (-10dB following order - Channel Pre,
→ +10dB). Channel Post, Monitor Pre, Monitor Post.
25 300
If required, the Phase control If desired, Send A and B can be engaged simultaneously.
will invert the incoming signal. If both sends are active (i.e. for two stereo cue sends),
The High Pass Filter with frequency selection allows the shared level control will increase/decrease the overall
low frequencies to be rolled off using the continuously level and the pan will balance the level across the active
variable control between 25Hz and 300Hz (18dB/octave). sends.
The HPF Frequency Selector has dual functionality. Two available stereo cue sends allow the flexibility of Aux
When the HPF button is selected it will act as a frequency A being active on one module, whilst Aux B is active on
selector. When depressed the module will engage Fader another.
Swap mode.
13
2081 eQ Monitor path, Channel
Based on the acclaimed 1973 Output & retro
- 1081 EQ. In a recording or
mixdown environment the The Monitor path section
OFF
15 - GAIN + 2081 Channel Module's EQ, LINE
features a rotary trim control
10 blurs the line between circuitry and two selectable inputs, DAW
6.8
and musicality. In comparison L PAN R and Line. Line, Retro, Cut, Solo
4.7
3.3 to the original, tweaking the and Solo Isolate are recallable.
I SEL
circuitry that controls drive S
O
ability and stability versus The default input for the Monitor
0
0
MON 10
180
band is hard bypassed until a function and will Solo Isolate when depressed.
330 frequency is selected. This is
INS EQ
a new feature not present in Channel Select (SEL) will Focus the Channel in the
the original 1081, resulting in Assign Section of the console. From here, the Channel
less noise on a signal running can be routed to the Main Mix or Groups 1 through 8.
through just one or two bands
as opposed to four. The Channel path Pan, Solo (see Solo Modes) and Cut
can be accessed directly below the Monitor path section.
The 2081 eQ is a four band semi-parametric EQ. Bell By default, the Pan knob is inactive. Channel Panning
curve and Hi Q controls, adjacent to the Frequency can be activated globally in the Channel Modes section,
Selectors, switch between a narrow/wide Q on the high or individually by selecting the Channel and pressing
and low mids, or a narrow Q/shelving EQ on the high and PAN in the Assign Section. As with the Monitor path, the
low frequencies. Pan control in the Channel path has dual functionality
and will Solo Isolate when depressed.
The Frequency selector controls are stepped and select
which frequencies will be boost/cut by the continuously The Pan LED indicates if Pan is active on the Channel.
variable gain controls. When set to the 12 o’clock position Note that panning will only be effective if the Channel is
the Frequency Selector is off and the band is in hard routed to the Main Mix or multiple Groups.
bypass.
Retro routes the Channel path to the Retro Output Stage,
eQ ranges: if inactive the Channel path feeds the Modern Output
Stage.
» HF - 3.3Khz - 15Khz
» HM - 1.5Khz - 8.2Khz
» LM - 220Hz - 1.2Khz
» LF - 33Hz - 330Hz
14
Channel Path Fader
The Channel Path Fader feeds the Direct Out.
The Destination LEDs situated at the top of each
Module (below the Channel Path Meters) will indicate
whether the Channel Path Output is also routed
to one or more of the eight Groups, or the stereo
Bus (via the Retro or Modern bus) - see the Assign
Section for routing details.
15
Master section VU VU
-180
90
0
90
180
+2
CLIP
+20
+3
+2
CLIP
+20
+3
+2
CLIP
+20
+3
+2
CLIP
+20
+3
+2
CLIP
+20
+3
+2
CLIP
+20
+3
+2
CLIP
+20
+3
+2
CLIP
+20
0 +8 0 +8 0 +8 0 +8 0 +8 0 +8 0 +8 0 +8
+4 +4
-1 0 -1 0 -1 0 -1 0 -1 0 -1 0 -1 0 -1 0
-4 -4 -4 -4 -4 -4 -4 -4
-10 -24 -10 -24 -10 -24 -10 -24 -10 -24 -10 -24 -10 -24 -10 -24
analog Oscillator. There are also eight multiple -20 -36 -20 -36 -20 -36 -20 -36 -20 -36 -20 -36 -20 -36 -20 -36
400mS
800mS 1.5S
AUTO
40 PINK
+10
OSC MAIN DIR SLS
-20 LEVEL 10 MIX SLS 10
0
0
0
0
COMP IN
0 20
COMP THRESHOLD GAIN MAKE UP COMP RECOVERY
0
0
0
0
0
0
0
0
0
0
L BAL R L BAL R
AUX1 AUX2 AUX3 AUX A AUX B
AUX SEND TRIMS
+4 +20
LIMIT ON FAST ATTACK
2254
HP 2 HP 2 HP 2 HP 2
LIMIT LEVEL LIMIT RECOVERY COMP RATIO RIGHT
10 10 10 10
0
0
0
0
0
0
0
0
+10
MAIN MON MAIN MON MAIN MON MAIN MON
-20 MIX MIX MIX MIX MIX MIX MIX MIX
COMP IN
0 20
COMP THRESHOLD GAIN MAKE UP COMP RECOVERY
SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO
ISO ISO ISO ISO
+12 200mS 800mS 3:1
2:1 4:1
100mS AUTO
REV RET 1 REV RET 2 REV RET 3 REV RET 4
+8 +16 1.5:1 6:1
+4 +20
LIMIT ON FAST ATTACK CR AUX 3 AUX B MAIN CR AUX 3 AUX B MAIN
2254 MON MIX MON MIX
LIMIT LEVEL LIMIT RECOVERY COMP RATIO LEFT
1 2 3 4 5 6 7 8
10 10
0
0
0
0
L BAL R L BAL R
PEAK SIG
LED LED RCL ESC
AUX REV FADER MON MIX
ST MON -6dB SWAP
PFL RET MAIN INS
iMON HP + PFL
0
0
0
0
0
0
0
0
0
0
0
0
0
0
MONITOR SOURCE
L PAN R L PAN R L PAN R L PAN R L PAN R L PAN R L PAN R L PAN R
0 111/2
DAW DAW DAW DAW DAW DAW DAW DAW
SOURCE IN MONO
SOLO STATUS
CUT CUT CUT CUT CUT CUT CUT CUT CUT CAL SWAP DIM CLEAR LINK CUE HP2 SLS
LOCK
1 2 3 4 5 6 7 8
GROUP RETURNS
16
Metering
0
90 90
-180 180
VU VU
0 +8 0 +8 0 +8 0 +8 0 +8 0 +8 0 +8 0 +8
+4 +4 +4 +4 +4 +4 +4 +4
-1 0 -1 0 -1 0 -1 0 -1 0 -1 0 -1 0 -1 0
-4 -4 -4 -4 -4 -4 -4 -4
-3 -8 -3 -8 -3 -8 -3 -8 -3 -8 -3 -8 -3 -8 -3 -8
-10 -24 -10 -24 -10 -24 -10 -24 -10 -24 -10 -24 -10 -24 -10 -24
-20 -36 -20 -36 -20 -36 -20 -36 -20 -36 -20 -36 -20 -36 -20 -36
The Phase Meter is tapped into the physical left and right
outputs of the console. The two Vu meters display the
level of the Main Mix Bus.
17
2254 Compressor
N2069 the Master Section. When the Mix button is
inactive, the 2254 will process the external
inputs.
2254 Controls
10 800mS 1.5S
0
-10 400mS AUTO
+10
COMP In - Switches the Compressor in (up)
-20 and out (down) of the circuit.
COMP IN
0 20
COMP THRESHOLD GAIN MAKE UP COMP RECOVERY
COMP THresHOlD - Can be varied in 2dB
+12 3:1
100mS
200mS 800mS
AUTO
2:1 4:1 steps from -20dBu to +10dBu, thus a wide
+8 +16 1.5:1 6:1 variety of effects can be achieved. Low Ratios
operated with a low Threshold will preserve
the dynamic range and also achieve a high
+4 +20
LIMIT ON FAST ATTACK signal to noise ratio. A high Ratio with a high
2254
LIMIT LEVEL LIMIT RECOVERY COMP RATIO LEFT Threshold will behave as a partial limiter.
MIX - Will apply the 2254 Compressors to the Main Mix COMP raTIO - Controls the ratio of gain reduction to
Outputs, pre-fader and before the insert points. The 2254 input signal level.
Compressors are also available on the rear panel of
18
Five preset ratios are provided: 1.5:1, 2:1, 3:1, 4:1 and Any selected Channel(s) can be routed to one or
6:1. more Groups by pressing and holding any one of the
Group Buttons 1 - 8. This sums the selected Channel
The control characteristic is shaped such that the onset output(s) onto the selected Group Mix Bus, and outputs
of compression is smooth and progressive, the true the resulting signal to the Group Outputs and the Stem
ratio being reached within the first 5 to 10dB above the Outputs post-fader.
Threshold.
GrP VIew - This displays which Channels are assigned
to which Group. Select the GRP VIEW button (latches)
limiter and hold the Group button that corresponds to the Group
you would like to view. The Channel Select buttons that
limit On - Switches the Limiter in (up) and out (down) of are lit indicate that those Channels are routed to that
the circuit. Group. Select the GRP VIEW button again, or ESC to
exit Group View mode.
limiter level - Sets the threshold of the Limiter. May be
set in steps of 1dB increments from +4dBu to +20dBu.
Channel Functions
limit recovery - There are three preset limit recovery
times (100ms, 200ms & 800ms), plus an automatic Once a Channel has been Focused in the Assign Section
setting (AUTO). In the AUTO position, both the Attack using the Channel Select button, or multiple Channels
and Recovery times are composite and self-adjusting. have been Focused using Multi-Select mode:
Speeds are rapid for isolated peaks, while remaining slow
for persistently high levels, so the impression of a normal MaIn MIX - Routes the selected Channel(s) to the Retro
dynamic range is preserved as the program rides on a and Modern Mix Outputs via the Main Mix Fader.
slowly moving 'gain platform'.
FDr swaP - Swaps the Monitor Path Rotary with the
Fast attack - Switches the attack time from 100 µs Channel Path Fader, ie, the Monitor Path Rotary now
(up) to 5 ms (down). A slower Attack Time will avoid controls the Channel path output, and the Channel Path
unpleasant effects when processing signals of a Fader now controls the Monitor path output. Note: All
percussive nature (such as solo piano). In this way, a other controls remain unchanged.
narrow dynamic range may be achieved by feeding high
levels into the 2254 and choosing a low limit level. Pan - Activates the Pan control on the Channel. This
is indicated by a blue LED to the right of the Channel
Pan control. If a Channel is routed to multiple Groups,
assign section panning will occur across odd and even Groups.
1 2 3 4 5 6 7 8
PEAK SIG
LED LED RCL ESC
Channel routing
The Channel path output can be routed to a Group,
multiple Groups, or the Main Mix. Note that the Channel
Direct Outputs are always active regardless of whether or
not the Channel path output has been routed elsewhere.
4. Select sTOre again to confirm. leD Display - Ordinarily, the LED Display in the Assign
Section displays the Channel currently in focus. It is also,
however, momentary for some of the console's other
To recall a scene: features. The following lists the possible displays:
Beware! This will reset the console, losing the » cP whilst copying a Scene.
current settings forever…
» Gr whilst in Group View mode.
To Copy a scene:
Settings that have been saved under a Scene can easily
be copied to another Scene.
1. Select COPY.
40 PINK
0
0
DIr - Routes the Oscillator to the Channel Direct Outputs Cr sel - Routes the currently selected Control Room
and the Retro Summing Bus. As signals sum at the Source to the SLS output.
Retro Summing Bus, levels will increase substantially. It
is strongly recommended to lower the Main Mix Fader eXT - Feeds the External SLS Input (available on the rear
prior to engaging DIR in order to avoid excessive levels panel of the Master Section) to the SLS output via the
feeding the monitor system. level control.
The level control operates between -20dBu and +10dBu. PFl - Routes the PFL Solo Bus to the SLS output.
To more finely calibrate the Oscillator output level, select
Cal. The trim screw adjacent to the level control will now Note: Talkback can also be sent to the SLS outputs by
adjust the output level, and the Main Output VUs in the selecting sls in the Talkback section.
Master Section Meterbridge will meter 0dB, displaying the
trim screw changes. Select CAL again to exit calibration
mode.
21
The DAW button may act as a Group Insert enable if
Group send/returns you have connected Group Out/Ins Send and DAW/Ins
Return to and from outboard gear or a patch bay.
0
0
0
0
0
0
0
0
0
0
0
0
0
0
GRP1 GRP2 GRP3 GRP4 GRP5
GROUP SEND TRIMS
GRP6 GRP7 GRP8
Mix Bus (which feeds both Retro and Modern Mix Outs),
Group Out/Ins Send (pre-fader), and the Stem Outputs
(post-fader).
L PAN R L PAN R L PAN R L PAN R L PAN R L PAN R L PAN R L PAN R
1 2 3 4 5 6 7 8
Pan - Allows the mono Group signal to be panned across
GROUP RETURNS
the Retro and Modern Mix Outs.
1 2 3 4 5
GROUP RETURNS
6 7 8 » Fed to either the AFL or PFL Solo Bus
There are eight mono Group Sends and Returns on the CuT - Cuts the Group signal (post Stem Out, pre Local
Series 75 Console. All buttons are recallable. Mix Bus).
The eight Groups have each been built as a hybrid » NOTE: When 7.1 is selected in the Control Room
Retro/Modern assembly. A Retro Output Stage appears Section, the 7.1 Input feeds the ALT 2 Speaker
before the DAW/Insert Return, after which the circuitry is Outputs (see Connections). When this is active,
transformerless. the Cuts and Solos above the Group Faders will
effect the individual ALT2 Speaker Outputs.
Each Group can take its input from two places.
stem Outputs - These post-fader Group Outputs are
» Individual Channels, which can be routed always active and allow subgroups within the mix to
using the Assign Section (Retro). be easily recorded back into the DAW (stems). A Retro
Output Stage at the Group Output effect any grouped
» Or your DAW, by selecting DAW Channels, hence Channel signals at the Stem Outputs
directly above the fader (Modern). will be sonically coloured.
22
reverb returns Headphone sends
AUX 1 AUX 2 AUX A MON AUX 1 AUX 2 AUX A MON
HP 2 HP 2 HP 2 HP 2 MIX MIX
HP 1 HP 1 HP 1 HP 1
10 10 10 10
0
0
0
0
0
0
0
0
MAIN MON MAIN MON MAIN MON MAIN MON
MIX MIX MIX MIX MIX MIX MIX MIX 10 10
0
0
0
0
L BAL R L BAL R
HP1 - Routes the Reverb Return to Headphone Output 1. Mon Mix - Selects the Monitor Mix, post-fader, as the
Headphone Output source.
HP2 - Routes the Reverb Return to Headphone Output 2.
auxiliary Master
section
0 0 0 0 0
0
0
0
0
0
0
0
0
0
0
L BAL R L BAL R
AUX1 AUX2 AUX3 AUX A AUX B
AUX SEND TRIMS
23
GrP - Meter the Group Outputs: 1, 2, 3, 4, 5, 6, 7, 8.
Channel Meters/ auX/PFl - Meter the Auxiliary Master levels and the PFL
Master Meters Outputs: A1, A2, A3, AL, Ar, bL, br, PF.
CHANNEL METERS reV reT - Meter the four stereo Reverb Returns: 1L, 1r,
VU 2L, 2r, 3L, 3r, 4L, 4r.
CH MON DIR FADERS PEAK
Console/Channel
Eight Bargraph Meters are situated above each Channel
Bin. Another eight multi-function Bargraphs, and the Modes
two Main Output VU Meters are situated in the Master
Section Meterbridge. CONSOLE MODES (HOLD)
MOn - Meter Monitor Path outputs. Each of the above buttons must be held for one second
before the function is executed. This is called the Hold
DIr - Meter Direct Outputs. function and, for reasons about to be revealed, allow you
to re-think your decision before committing.
If FaDers is selected, the Bargraph Meters will display
the level of the faders. The following operations will effect all modules.
Vu / PeaK toggles between VU metering or Peak CHan InPuT - Cycles through the four Channel path
Program Metering. In PPM mode, the top 4 LEDs are input options (Mic, DI, DAW and Line).
brighter to indicate proximity to clipping. In VU mode, the
top 8 LEDs are brighter. MOn InPuT - Switches between the two Monitor path
input options (DAW and Line).
Master Meter Controls Note: Be careful when cycling through Channel Modes.
If the console is in Record Mode and the CHAN INPUT
The following metering options effect the Master Section button is cycled to select 'DAW' when the DAW is armed,
Meters. a feedback loop will exist. Take a moment to think
about the result of different Channel and Console Mode
sT - Meter (in this order) Main Outputs, Monitor Outputs, combinations.
Control Room Outputs and AFL Outputs. Labeling under
the Meters will read: L, r, .L, .r, CL, Cr, AL, Ar. Pan - Activates the Pan control on all Channels.
24
reTrO - Routes the Channel path to the Channel
retro Output stage or Channel Modern Output stage
before they join either the Voltage summing or Current
summing Bus respectively.
25
Source section in combination with ALT2 routes the 7.1
Control room Input to the ALT2 Speaker Outputs.
The high fidelity Control Room monitoring circuitry allows lCuT & rCuT - These cut the left and right channels
for sonically transparent monitoring of up to 12 sources. of the currently selected Speaker Outputs. If monitoring
Located in the bottom right hand corner of the Master surround using ALT2, just the L & R speakers will be cut.
Section, it hosts the Main Monitor Volume Control, source
selection for the Control Room Monitors, global Solo MOnO - Feeds a mono sum of the selected Monitor
Modes, and Talkback controls. Source to the Speaker Outputs.
Other features include a Control Room Headphone Further, if lCuT and MOnO are selected, the right
Output and an input labeled iMOn - This is an 1/8” TRS channel of the Monitor Source will be routed to the
input designed for monitoring of external equipment, such selected left AND right Speaker Outputs. If rCuT and
as MP3 players, through the Control Room Speakers. MOnO are selected, the opposite occurs.
SOURCE IN MONO
DIM - Dims the Speaker Outputs by a level set by
CUT CAL SWAP DIM
SOLO
LINK CUE HP2 SLS STATUS
the Dim Control. The DIM button will be activated
CLEAR LOCK
automatically when the following buttons in the
Talkback section are activated: auX, Cue, HP1 and
HP2.
Monitor source
Control room Volume
The Monitor Source section of the Series 75 Control
and Controls Room panel is a 12 input analogue summing mixer, using
high fidelity modern assembly methods for transparency.
By far, the most exhaustive amount of effort of all of the Up to 12 sources may be selected and monitored at
Series 75 features has gone into the design of the Control once.
Room Volume circuitry.
2T1 - Routes 2 Track 1 to the selected Speaker Outputs
Up to three pairs of monitors can be connected to the via the Main Volume control.
Series 75 (see Connections for details).
2T2 - Routes 2 Track 2 to the selected Speaker Outputs
MaIn - Routes the selected Monitor Source to the Main via the Main Volume control.
Spk outputs.
7.1 - Routes the 7.1 input to the selected Speaker
alT1 - Routes the selected Monitor Source to the Alt Spk Outputs via the Main Volume control. The ALT2 Speaker
1 outputs. Outputs are 7.1 capable.
alT2 - Routes the selected Monitor Source to the Alt Spk NOTE: Selecting 7.1 also alters the Group Cuts and
2 outputs. Solos, which will now affect the ALT2 Speaker Outputs.
This allows the additional ability to cut or solo individual
NOTE: ALT2 can be used as a third pair of stereo speakers when monitoring in surround sound.
monitors, however also supports eight outputs for 7.1
surround sound monitoring. Selecting 7.1 in the Monitor iMOn - Routes the iMON input (top left corner of the
26
Control Room section) to the selected Speaker Outputs Outputs. The AFL bus is stereo, and soloing
via the Main Volume control. is non-destructive (solo does not affect the
Channel Direct Output or Main Mix Out signals).
suM - Is a latching function, and allows multiple Monitor
Sources to be selected. When SUM is selected again, the » PFl - A Pre-Fader Listen signal will be
Monitor Source will revert to the last selected source. sent from the soloed Channel or Monitor
path to the PFL bus and on to the Speaker
reTrO OP - Routes the Main Mix (post Master Fader) Outputs. The PFL bus is mono, and soloing
through the main Retro Mix stage (LO1166) to the Main is non-destructive. The PFL Level Control is
Output & the Control Room section. directly above the Control Room Volume.
MDrn OP - Routes the Main Mix (post Master Fader) » sIP - A Solo button will simply cut all other
through the main Modern Mix stage (transformerless) to signals which have neither their solo isolate
the Main Output & the Control Room section. mode activated, or been soloed themselves.
Soloing is destructive (Channel Direct
MOn MIX - Routes the Monitor Mix to the Main Output & Outputs and Mix Outputs are Cut).
the Control Room section.
» sIF - An After Fader Listen signal will be sent
auX 1, auX 2, auX 3 and auX a, auX B buttons route from the selected Channel or Monitor path to
the respective send to the selected Speaker Outputs via the AFL bus and on to the Speaker Outputs.
the Master Aux control and the Main Volume control. The Main Mix is padded 10dB and added to
the AFL bus. Soloing is non-destructive.
Control room lInK - Links the Channel path and Monitor path Solos.
When selected, soloing any signal (Channel or Monitor
Headphones Path) will result in all other un-soloed channels being
cut. If unselected, Channel path and Monitor path Solos
The Control Room Headphone Output (HP) is located operate independently.
directly above the Main Volume Control. The level control
adjacent to it effects the output level of the headphone
and the PFL bus. Talkback and listen Mic
CrM HP - Feeds the currently selected Monitor Source to The built-in TalKBaCK microphone is accessed here.
the Control Room Headphones. Talkback can be fed to the Auxiliary Sends, Cues, two
Headphone Outputs, and Studio Loudspeakers. When
HP1 - Routes Headphone Output 1 to the Control Room Talkback is activated, DIM is automatically engaged.
Headphones.
» auX - Feeds Talkback to Auxiliary
HP2 - Routes Headphone Output 2 to the Control Room Outputs 1, 2, 3, A and B.
Headphones.
» HP1 & HP2 - Feeds Talkback to
PFl - Feeds the PFL bus to the Control Room Headphone Send 1 or 2 via the
Headphones. respective Headphone Send Level.
The following buttons effect soloing globally. There » sls - Routes Talkback to the Studio
are four global Solo Modes available on the Series 75 Loudspeakers via the SLS Level Control.
console. After-Fader Listen, Pre-Fader Listen, Solo In
Place, and Solo In Front. LEDs in the Solo Modes section The lIsTen MIC is an extra input designed for a
light to display which of the four modes are active at any dedicated studio to control room communication
one time. All buttons other than Solo Clear are recallable. microphone (dynamic only). The rotary control labeled
lIsTen MIC sets the level of this input. The button
sOlO Clear - Clears all active Solos on the console. labeled lIsTen, situated directly below, sends the signal
to the Speaker Outputs cutting the currently selected
sOlO MODe - Cycles through the four Solo Modes. Monitor Source.
After-Fader Listen (aFl), Pre-Fader Listen (PFl), Solo In
Place (sIP), and Solo In Front (sIF). sTaTus lOCK - Locks out the CONSOLE MODE
buttons, CHANNEL MODE buttons (other than PAN),
» aFl - A Solo button will send an After Fader OSC to GRPS/MAIN MIX, and the SIP SOLO MODE.
Listen signal from the soloed Channel or Monitor
path to the AFL bus and on to the Speaker
27
This prevents any destructive functions from effecting the
Main Mix Output or Channel Direct Outputs.
Faders
28
7. If all three jumpers are placed on the
Modifications two pins closest to the Channel Bin
Motherboard, the Insert will fall pre-EQ.
There are two modifications that, depending on your
workflow, you may like to make. 8. Once the changes have been made,
replace the Module carefully and firmly
Insert Points on each 2081 Module default post-EQ. A back into the Channel Bin Motherboard.
quick jumper change on the Channel PCB will move it
pre-EQ. 9. Replace both hex screws before powering up.
2. Remove the hex screws situated at the 4. Place the Module(s) carefully and firmly
top and bottom of the 2081 Module. into the Channel Bin Motherboard. This
should provide a satisfying click…
3. The Modules are attached to the Channel
Bin Motherboard beneath them, firmly grip 5. Fit both hex screws before powering up.
the Aux A/B Pan Control and the Monitor
Path Pan Control. Carefully remove 6. Make sure the correct size blank panels
the Module from the Channel Bin. have been ordered and are refitted to
protect the console from dust etc.
4. Find the area on the Module PCB that
is indicated in the image below. 7. On power up, the console will recognise the
additional modules and update the SMD chip to
5. Three jumpers indicated J601, J602 the current motherboard version if necessary.
and J603 need to be moved.
29
Channel & Input Block Diagram
Block Diagrams
Title: 2081 Module Block Diagrams
File:
PFL
Channel Pre 1 +
2 L Modern L, R
-
Channel Post 3
AUX AL Modern Mix Busses Panpot
Monitor Pre AR
+
BL Fader Swap R Modern AFL, L,R
Monitor Post BR -
Bus Switching
Monitor Post to Aux +
L Modern L, R
Line Amp -
DAW
Panpot
Line +
BA283 Monitor Level R Modern AFL, L,R
-
PFL
Bus Sw
File:
DAW Playback
Osc & Talkback Insert Return To Meter
To AFL
Local Mix R
Local Mix L
AFL R
AFL L
PFL
Group Mix Bus 1 Mix Busses
stereo Mix & Outputs
Title: Master Section Block Diagrams
File:
CW LO1166
Line Amp
Osc to Mix
Retro O/P L
Local Mix Buffer Bal Out
To Meter & HP
Left
R R
Insert
Local Mix R
Local Mix L
CW
Bus Amp
Monitor Mix
File:
MiniJack In L
Unbal In
Main Volume Control
MiniJack In R DC Control
CW
I-Mon
Unbal In Level DC Control
CW
Aux 1 Post Fade L Dim
Cut Switches
Aux 2 Post Fade R
Aux 2
Aux 3 Post Fade L To SLS PCB Right
CR Sel L Main L
AFL
Aux 3 Post Fade R CW
Aux 3 AFL Level CW Buffer
Mix Amp
Level PCB Right
Aux A Post Fade L Main R
Mix Amp
Aux A Post Fade R Buffer
To SLS
Monitor Sources
Buffer
2 TRACK 2 R
2Trk2 Alt 2 LFE
Bal In
Buffer
Mon Mix L
Alt 2 LS
Mon Mix R
Mon Mix Buffer
Buffer
PCB Right
Listen
Surround Input
PCB Right
Listen Mic Surround Input
CW
Surround Input
Pre & Limiter
Listen Level Surround Input
Surround Input
Listen mic overrides all other sources
Surround Input
Surround Input
Surround Input
CW CW CW CW CW CW CW CW
File:
Bus Amp
Reverb Return 1 (2,3,4 Identical)
To CR Mon
Bal In Unbal Out CW
Aux 1 Out Left L
CW CW To Local Stereo Mix Bus
Balanced Outputs
Bus Amp Talkback To CR Mon Bal In Buffer Buffer R
Level Bal Buffer Level Balance
Aux A (Aux B Identical
Aux 1 (2,3,4 Identical
To Mix A
Aux A L Out
Rev Ret 1
Bal In Unbal Out CW
Bal Buffer L
Balance
Bal Buffer
To HP2
Bal Buffer
Headphone 1
Rev 2 Left CW CW
Rev 3 Left
Mix Amp HP Amp
Rev 4 Left Balance
Aux 2
Aux 3
Aux B Left Talkback
St Mix Left
Mon Mix Left
CR Mix Left
HP1 Bal Output
34
Rev 2 Left CW CW
Rev 3 Left
Mix Amp HP Amp
Rev 4 Left Balance
Aux 2
Aux 3
Aux B Left Talkback
St Mix Left
Mon Mix Left
CR Mix Left
HP1 Bal Output
Rear Connections
Rev 2 Left CW CW
Rev 3 Left
Mix Amp HP Amp
Rev 4 Left Balance
Aux 2
Aux 3
Aux B Left Talkback
St Mix Left
Mon Mix Left
CR Mix Left
HP2 Bal Output
Rev 2 Left CW CW
Rev 3 Left
Mix Amp HP Amp
Rev 4 Left Balance
Aux 2
Aux 3
Aux B Left Talkback
St Mix Left
Mon Mix Left
CR Mix Left
HP2 Bal Output
Headphone 2
Title: Channel Module Block Diagrams
File:
PCB Left
10468 Bus Amp Internal Trim Line Amp
Osc to Mix Oscillator
To CR Mon To Mix
Sine Cal Trim
Osc
I/P Tfmr BA283 Buffer Osc to Direct Outs Osc & TB
CW
To Channels
Bus Amp
BA283
35
Studio Loudspeaker (SLS) Talkback
Talkback
PFL to SLS
Direct Outs Osc & TB
Talkback On
CR Mon Pre Fade L To Slate
Ext Groups Osc & TB
CW Talkback
SLS Ext In L Level SLS Left
CW
Pre & Limiter HP1 L&R Talkback
Bal Out Mic
To HP1
PFL to SLS HP Level HP2 L&R
Talkback On To HP2
CR Mon Pre Fade R
Ext Aux 1-3,A,B Talkback
CW
SLS Ext In R Level SLS Left To Aux
SLS Talkback
To SLS
Bal Out
d c
e
b
Dimensions
» a: 45cm b: 99cm c: 30.7cm d: 70.5cm e: 12cm
32 Channel Frame
» Width: 167cm (65.75 in)
24 Channel Frame
» Width: 135cm (53.15 in)
16 Channel Frame
» Width: 102cm (40.16 in)
36
recall sheets
The following pages contain printable Recall sheets for the Custom Series 75.
37
session: Date:
Notes: 10 800mS 1.5S
0
-10 400mS AUTO
40 PINK
+10
OSC MAIN DIR SLS
-20 LEVEL 10 MIX SLS 10
0
0
0
0
COMP IN
0 20
COMP THRESHOLD GAIN MAKE UP COMP RECOVERY
0
0
0
0
0
0
0
0
0
0
L BAL R L BAL R
AUX1 AUX2 AUX3 AUX A AUX B
AUX SEND TRIMS
+4 +20
LIMIT ON FAST ATTACK
2254
HP 2 HP 2 HP 2 HP 2
LIMIT LEVEL LIMIT RECOVERY COMP RATIO RIGHT
10 10 10 10
0
0
0
0
0
0
0
0
+10
MAIN MON MAIN MON MAIN MON MAIN MON
-20 MIX MIX MIX MIX MIX MIX MIX MIX
COMP IN
0 20
COMP THRESHOLD GAIN MAKE UP COMP RECOVERY
SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO
ISO ISO ISO ISO
+12 200mS 800mS 3:1
2:1 4:1
100mS AUTO
REV RET 1 REV RET 2 REV RET 3 REV RET 4
+8 +16 1.5:1 6:1
+4 +20
LIMIT ON FAST ATTACK CR AUX 3 AUX B MAIN CR AUX 3 AUX B MAIN
2254 MON MIX MON MIX
LIMIT LEVEL LIMIT RECOVERY COMP RATIO LEFT
1 2 3 4 5 6 7 8
10 10
0
0
0
0
L BAL R L BAL R
PEAK SIG
LED LED RCL ESC
AUX REV FADER MON MIX
ST MON -6dB SWAP
PFL RET MAIN INS
iMON HP + PFL
0
0
0
0
0
0
0
0
0
0
0
0
0
0
MONITOR SOURCE
L PAN R L PAN R L PAN R L PAN R L PAN R L PAN R L PAN R L PAN R
0 111/2
DAW DAW DAW DAW DAW DAW DAW DAW
SOURCE IN MONO
SOLO STATUS
CUT CUT CUT CUT CUT CUT CUT CUT CUT CAL SWAP DIM CLEAR LINK CUE HP2 SLS
LOCK
1 2 3 4 5 6 7 8
GROUP RETURNS
38
session: Date:
Notes:
0 0 0 0 0 0 0 0
O O O O O O O O
30 30 30 30 30 30 30 30
24 36 -10 TRIM 10 24 36 -10 TRIM 10 24 36 -10 TRIM 10 24 36 -10 TRIM 10 24 36 -10 TRIM 10 24 36 -10 TRIM 10 24 36 -10 TRIM 10 24 36 -10 TRIM 10
18 42 18 42 18 42 18 42 18 42 18 42 18 42 18 42
6.8 2.2 HI Q 6.8 2.2 HI Q 6.8 2.2 HI Q 6.8 2.2 HI Q 6.8 2.2 HI Q 6.8 2.2 HI Q 6.8 2.2 HI Q 6.8 2.2 HI Q
5.6 2.7 5.6 2.7 5.6 2.7 5.6 2.7 5.6 2.7 5.6 2.7 5.6 2.7 5.6 2.7
4.7 3.3 4.7 3.3 4.7 3.3 4.7 3.3 4.7 3.3 4.7 3.3 4.7 3.3 4.7 3.3
3.9 3.9 3.9 3.9 3.9 3.9 3.9 3.9
0
0
0
0
0
0
0
0
0
0
0
0
0
0
L PAN R SWAP L PAN R SWAP L PAN R SWAP L PAN R SWAP L PAN R SWAP L PAN R SWAP L PAN R SWAP L PAN R SWAP
SOLO CUT SOLO CUT SOLO CUT SOLO CUT SOLO CUT SOLO CUT SOLO CUT SOLO CUT
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
39
wiring Diagrams
Xlr Connectors
1 2
3
Sleeve Tip
Connectors
1 13
14
DB25 Connectors
All DB25 connectors are wired with Tascam pinout &
numbering, housing screws are imperial thread. Each
Channel Bin uses DB25 for Direct Out, Line In, DAW In,
Insert Send & Insert Return.
40
Master section rear
Panel
7.1 Inputs surround spk (alt2)
Naturally, the following labels are just a guide. Labels As mentioned previously, the following labels are just
have not been added to the console, maintaining a guide. Labels have not been added to the console,
consistency between the 7.1 input wiring and maintaining consistency between the 7.1 input wiring
the Surround Spk (Alt2) output wiring is the main and the Surround Spk (Alt2) output wiring is the main
consideration. consideration.
Pin # Connection Cable # Pin # Connection Cable #
1 LFE + 8 1 LFE + 8
14 LFE - 14 LFE -
2 0V 2 0VS
1 1
15 Rs + 7 15 Rs + 7
14 14
8
8
2 3 Rs - 2 3 Rs -
15 15
16 0V 16 0VS
3 3
7
7
16 4 Ls + 6 16 4 Ls + 6
4 17 Ls - 4 17 Ls -
17 17
6
6
5 5 0V 5 5 0VS
18 18 R+ 5 18 18 R+ 5
6 6
5
5
19 6 R- 19 6 R-
7 19 0V 7 19 0VS
20 20
4
4
8
7 Rc + 4 7 Rc + 4
8
21 20 Rc - 21 20 Rc -
9 9
3
8 0V 8 0VS
22 22
10 21 C+ 3 10 21 C+ 3
23 23
2
9 C- 9 C-
11 11
24 22 0V 24 22 0VS
12 12
1
10 Lc + 2 10 Lc + 2
25 25
13 23 Lc - 13 23 Lc -
11 0V 11 0VS
24 L+ 1 24 L+ 1
12 L- 12 L-
25 0V 25 0VS
13 Chassis 13 Chassis
41
reverb (stereo) returns aux sends
Pin # Connection Cable # Pin # Connection Cable #
1 Ret+4R 8 1 Osc+ 8
14 Ret-4R 14 Osc-
2 0VR 2 0V
1 1
15 Ret+4L 7 15 AUX Out BR+ 7
14 14
8
8
7
7
6
6
5 5 0VR 5 5 0V
18 18 Ret+3L 5 18
18 AUX Out AR+ 5
6 6
5
5
4
4
3
3
8 0VR 8 0V
22 22
10 21 Ret+2L 3 10 21 AUX Out 3+ 3
23 23
2
2
1
10 Ret+1R 2
1
10 AUX Out 2+ 2
25 25
13 23 Ret-1R 13 23 AUX Out 2-
11 0VR 11 0V
24 Ret+1L 1 24 AUX Out 1+ 1
12 Ret-1L 12 AUX Out 1-
25 0VR 25 0V
13 Chassis 13 Chassis
2 3 Mon Mix Out L- mains power and should be run at 1 Amp 24 Volts.
15
16 0V
3
7
5 0V 14 PFL Out-
5
18 18 5 1 2 0V
6
5
14 15 Listen Mic+ 7
8
19 6
2
7 19 0V 15 3 Listen Mic-
20
4
7 Alt Spk1 R+ 4 3 16 0V
7
8 16
21 20 Alt Spk1 R- 4 Talkback Sw1 6
4
9
3
8 0V 17 17 Talkback Sw2
6
22 5
10 21 Alt Spk1 L+ 3 5 0V
18
23 18 Red Light1 5
2
9 Alt Spk1 L- 6
5
11 19
24 22 0V 6 Red Light2
7
12 19 0V
1
10 Main Spk R+ 2 20
4
25 8
23 Main Spk R- 7 Ext to SLS R+ 4
13 21
11 0V 9 20 Ext to SLS R-
3
24 Main Spk L+ 1 22 8 0V
10
12 Main Spk L- 23
21 Ext to SLS L+ 3
2
25 0V 11 9 Ext to SLS L-
24
13 Chassis 22 0V
12
1
25 10 SLS R+ 2
13
23 SLS R-
11 0V
24 SLS L+ 1
12 SLS L-
25 0V
13 Chassis
42
Headphones Mix Outs & 2254
Pin # Connection Cable #
Note: Unbalanced outputs are able to drive up to 10 1 2254 In R+ 8
headphones without the need for an external headphone 14 2254 In R-
amp, the balanced outputs will need to be connected to a 2 0V
headphone amp. 1
14
15 2254 In L+ 7
8
2 3 2254 In L-
Pin # Connection Cable # 15
16 0V
3
7
1 8 16 4 2254 Out R+ 6
14 4 17 2254 Out R-
17
6
2 0V 5 0V
1 5
14 15 HP2 R 7 18 18 2254 Out L+ 5
8
5
2 3 HP2 L 6 2254 Out L-
15 19
3
16 0VHP 7 19 0V
7
20
4
16 4 HP1 R 6 7 Retro R+ 4
4 8
17 HP1 L 21 20 Retro R-
17
6
3
5 5 0VHP 8 0V
18 22
18 5 10 21 Retro L+ 3
6
5
6 23
2
19 9 Retro L-
7 11
19 0V 24 22 0V
20
4
7 HP2 R+ 4 12
1
8 10 Modern R+ 2
21 25
20 HP2 R- 23 Modern R-
9 13
3
22 8 0V 11 0V
10 21 HP2 L+ 3 24 Modern L+ 1
23
2
9 HP2 L- 12 Modern L-
11
24 22 0V 25 0V
12
1
10 HP1 R+ 2 13 Chassis
25
13 23 HP1 R-
11 0V
24
12
HP1 L+
HP1 L-
1 Group Outputs/Insert
25
13
0V
Chassis
sends
Pin # Connection Cable #
2 0V
Pin # Connection Cable # 1
15 Grp +7 7
1 2Trk2 R+ 8 14
8
2 3 Grp -7
14 2Trk2 R-
15
16 0V
1 2 0V 3
7
14 16 4 Grp +6 6
15 2Trk2 L+ 7
8
2 4 17 Grp -6
15 3 2Trk2 L- 17
6
5 5 0V
3 16 0V
7
16 18 18 Grp +5 5
4
4 2Trk1 R+ 6 6
5
19 6 Grp -5
17 17 2Trk1 R-
6
5 7 19 0V
5 0V 20
18
4
7 Grp +4 4
6 18 2Trk1 L+ 5 8
5
19 21 20 Grp -4
6 2Trk1 L- 9
3
7 8 0V
20 19 0V 22
4
8 10 21 Grp +3 3
7 Ins Ret R+ 4
23
2
21 9 Grp -3
9 20 Ins Ret R- 11
3
24 22 0V
22 8 0V
12
1
10 10 Grp +2 2
23 21 Ins Ret L+ 3 25
2
13 23 Grp -2
11 9 Ins Ret L-
24 11 0V
22 0V
12
1
24 Grp +1 1
25 10 Ins Send R+ 2
13 12 Grp -1
23 Ins Send R-
25 0V
11 0V
13 Chassis
24 Ins Send L+ 1
12 Ins Send L-
25 0V
13 Chassis
43
stem Outputs
Pin # Connection Cable #
1 Stem +8 8
14 Stem -8
2 0V
1
15 Stem +7 7
14
8
2 3 Stem -7
15
16 0V
3
7
16 4 Stem +6 6
4 17 Stem -6
17
6
5 5 0V
18 18 Stem +5 5
6
5
19 6 Stem -5
7 19 0V
20
4
7 Stem +4 4
8
21 20 Stem -4
9
3
8 0V
22
10 21 Stem +3 3
23
2
9 Stem -3
11
24 22 0V
12
1
10 Stem +2 2
25
13 23 Stem -2
11 0V
24 Stem +1 1
12 Stem -1
25 0V
13 Chassis
Daw/Ins return
Pin # Connection Cable #
1 DAW +8 8
14 DAW -8
2 0V
1
15 DAW +7 7
14
8
2 3 DAW -7
15
16 0V
3
7
16 4 DAW +6 6
4 17 DAW -6
17
6
5 5 0V
18 18 DAW +5 5
6
5
19 6 DAW -5
7 19 0V
20
4
7 DAW +4 4
8
21 20 DAW -4
9
3
8 0V
22
10 21 DAW +3 3
23
2
9 DAW -3
11
24 22 0V
12
1
10 DAW +2 2
25
13 23 DAW -2
11 0V
24 DAW +1 1
12 DAW -1
25 0V
13 Chassis
44
Channel Bin rear Panel
Channel Insert sends Daw Inputs
Pin # Connection Cable # Pin # Connection Cable #
1 Snd +8 8 1 DAW +8 8
14 Snd -8 14 DAW -8
1 2 0V 1
2 0V
14 15 Snd +7 7 14 15 DAW +7 7
8
8
2 2
3 Snd -7 3 DAW -7
15 15
3 16 0V 3 16 0V
7
7
16 16
4 Snd +6 6 4 DAW +6 6
4 4
17 17 Snd -6 17 17 DAW -6
6
6
5 5 5 0V
5 0V
18 18
6 18 Snd +5 5 6 18 DAW +5 5
5
5
19 19 6 DAW -5
6 Snd -5
7 7
20 19 0V 20 19 0V
4
4
8 7 Snd +4 4 8 7 DAW +4 4
21 21
9 20 Snd -4 20 DAW -4
9
3
3
22 8 0V 22 8 0V
10 10
21 Snd +3 3 21 DAW +3 3
23 23
2
2
11 9 Snd -3 11 9 DAW -3
24 24
22 0V 22 0V
12 12
1
1
25 10 Snd +2 2 25 10 DAW +2 2
13 13 23 DAW -2
23 Snd -2
11 0V 11 0V
24 Snd +1 1 24 DAW +1 1
12 Snd -1 12 DAW -1
25 0V 25 0V
13 Chassis 13 Chassis
2 2 3 Line -7
3 Ret -7
15 15
3 16 0V 3 16 0V
7
16 16 4 Line +6 6
4 Ret +6 6
4 4
17 17 Ret -6 17 17 Line -6
6
5 5 0V 5 5 0V
18 18
6 18 Ret +5 5 6
18 Line +5 5
5
19 6 Ret -5 19 6 Line -5
7 7
19 0V 19 0V
20 20
4
4
8 7 Ret +4 4 8 7 Line +4 4
21 21
20 Ret -4 20 Line -4
9 9
3
3
22 8 0V 22 8 0V
10 10 21 Line +3 3
21 Ret +3 3
23 23
2
2
11 9 Ret -3 11 9 Line -3
24 24 22 0V
22 0V
12 12
1
1
25 10 Ret +2 2 25 10 Line +2 2
13 23 Ret -2 13 23 Line -2
11 0V 11 0V
24 Ret +1 1 24 Line +1 1
12 Ret -1 12 Line -1
25 0V 25 0V
13 Chassis 13 Chassis
45
Direct Outputs
Pin # Connection Cable #
1 DIR +8 8
14 DIR -8
2 0V
1
15 DIR +7 7
14
8
2 3 DIR -7
15
16 0V
3
7
16 4 DIR +6 6
4 17 DIR -6
17
6
5 5 0V
18 18 DIR +5 5
6
5
19 6 DIR -5
7 19 0V
20
4
7 DIR +4 4
8
21 20 DIR -4
9
3
8 0V
22
10 21 DIR +3 3
23
2
9 DIR -3
11
24 22 0V
12
1
10 DIR +2 2
25
13 23 DIR -2
11 0V
24 DIR +1 1
12 DIR -1
25 0V
13 Chassis
46
Glossary retro Output stage
The Classic Output Stage which was made famous by
amplifying stages the Neve 1073, 1272 and 2254 could be described using
words such as warm, defined and flattering. The only
Each EQ band contains an amplifying stage. The mic pre way to truly know is to listen. Circuitry wise, the sound
contains two, as does the HPF. The original Neve BA338 is largely due to the BA283 output amplifier and L01166
amplifying stages have been tweaked to improve their output transformer. These two components, when used
drive ability and stability versus temperature, resulting in together, have a significant sonic effect.
reduced distortion and approximately 9dB more dynamic
range. As a further improvement to the original designs, Care has been taken to recreate the renowned Classic
each section of the 2081 channel module has its own Output Stage for the Series 75 Console. The BA283X
power supply filtering. output stage, single ended, class A circuitry with a
gapped core transformer, and the L01166 output
transformer are as it was originally.
Channel Bin
All capacitors in the audio signal path (Retro & Modern)
Front on, the Channel Bins of the Custom Series 75 are are WIMA polypropylene film or Rubycon ZLH electrolytic
almost indiscernible. However each group of eight 2081 chosen for long life and superior sonic performance. All
channel modules are housed in an aluminum casing relays, switches and connectors in the audio signal path
known as a 'bin'. Beneath this are the individual Channel have gold plated contacts.
Bin motherboards. From the rear, each bin can be seen
clearly. Depending on the chassis size, there may be up
to eight Channel Bins. stem Outputs
A Stem is a sub-mix output. In music mixing, stems are
Current summing more often stereo mixes of just the drums, guitars, or
vocals etc. These can then be subsequently re-mixed
Current Summing is a modern solution to the together for a complete stereo mix. The Series 75 Stem
'deficiencies' of Voltage Summing. No matter how many Outputs are post-fader, and may be used to record just
signals you feed to the mix bus of a Current Summing the sub-grouped signals.
circuit, the voltage on the bus will remain at 0 Volts.
We call this a “Virtual Earth” - the inverted op-amp
output voltage is 'fed back' to the virtual earth point Voltage summing
via a feedback resistor, resulting in 0V at the op-amp
input. A more sophisticated variant of this circuit is used In the 1970s Voltage Summing was the only way to
to achieve balanced virtual earth mixing as used in sum multiple signals onto a bus. Put simply, the signal
this console. Due to the virtual earth, this design does level on the mix bus drops as more signals are fed to
not require an input or output transformer. A Current it, typically to around -30dbu. Further, the mix bus must
Summing Mix Bus does not colour the audio. be designed from the outset to have a fixed number of
sources, and the impedance and bus level depends on
this not changing. The signal passes through an input
Modern Output stage transformer and amplifying stage – the “mix amp”. This
input transformer will subtly colour the signal. Once
The Modern Output Stage of the Custom Series 75 has the signal passes through the mix amp it hits an output
been designed for sonic transparency and excellent transformer. The output transformer is where much of the
technical specification. It's a transformer-less balanced sonic colour comes from. In effect, a Voltage Summing
floating output, that can drive balanced or unbalanced Mix Bus colours the audio in a way that is pleasing to our
professional grade studio equipment. All op amps are ear.
LM4562 by National Semiconductor, generally regarded
as the best sounding opamp available.
47
Credits
Tom Misner – Owner/Designer/Marketing
The Team wishes to thank the numerous people whose valuable suggestions and criticisms during the development of
this console have helped to make it even better.
48