Getting Started

Power up

• The console should already be powered on when you arrive

• Switch on the rack equipment, including the UAD Apollo and rack-mounted computer

• Recall Scene 1 on the Neve console (RCL-1-RCL in centre section)

• Switch on the studio speakers using the power switch on the right hand side wall

Console Inputs

• Our Neve Custom 75 has 32 in-line channels with 4 available inputs

• 32 Microphone Inputs

  • Accessible from the channel input only. The patch bay normals the 32 mic lines from Live 1 to Neve microphone inputs 1-32. Live 2's 16 lines are available further along the mic patch bay and may be patched in to override Live 1's mic lines.

  • Ensure to only engage +48v once all microphones are plugged in and all mic patching is complete.

• 32 DI Inputs

  • Accessible from the channel input only. Only accessible from the rear of the console. As we do not permit students to access studio wiring, a tech ops staff member will be required to utilise these inputs

• 32 DAW Inputs

  • The UAD Apollo outputs are normalled to DAW Inputs 1-32. The channel path direct out is normalled to the UAD Apollo inputs 1-32.

• 32 Line Inputs

  • The Otari MTR-90 tape machine is normalled to line inputs 1-24

• 8 Group Inputs

  • The 8 groups on the console are internal routing destinations, but may be patched as inputs for external signals. They will only route to the Main Mix Bus.

• 4 Stereo Returns

  • There are 4 basic inputs available in the centre of the console, labelled as 'REV RTN' 1-4. These inputs are commonly used for stereo effects returns. They can be routed to the Monitor Bus, Main Mix Bus or even the internal headphone amps for artist mixes.

Console Signal Paths

Channel Path

• • The channel path is the main path of the Neve 75. It provides the most options for inputs and signal processing.

  • During recording, the input is often set to 'Mic', as this is the only path that provides the ability to receive a microphone signal.

  • During mixing, the input is often set to 'DAW', as this provides access to the EQ, inserts, groups and the Retro/Modern channel output. The operator will be monitoring the Main Mix Bus.

  • The post-fader output of the channel path (direct out) is normalled to the UAD Apollo inputs 1-32 via the patch bay.

Monitor Path

• • The monitor path is a minimal input that provides basic level and pan functionality. 

  • This path only routes to the 'Monitor Bus', often purely for monitoring duties as it is not available for patching

  • During recording, this should be the path that is monitored in the control room, as well as the source for headphone mixes.

  • During mixing, this input is often unused. If additional mix input are required, the Monitor Bus can be routed to the Main Mix Bus using the 'Mon>Main' switch in the centre section.

  • The Direct Out of the channel path can be used to re-record individual channels back to Pro Tools. Be extremely mindful of your routing, as record-armed tracks with matching inputs and outputs may result in a loud feedback loop.

Basic Recording

IMPORTANT - complete the steps in the 'Power up' section of this guide before continuing

Channel Path Setup

• • Ensure a microphone is connected to a mic input on the Studio A junction box in Live 1, pointed at a suitable sound source

  • Launch Pro Tools and create a new session in the 'Student Work' folder. Ensure you have selected the 'Neve 75' I/O setting

  • Create a new track with a suitable input and output selected. Record enable the track.

  • Set the channel fader to unity (there should be a horizontal marking near the fader to indicate 0dB)

  • Set channel meters to 'CH'. Increment the mic gain until signal is metering appropriately on the console meters and the Pro Tools track

If the signal is not present on your Pro Tools track, here are some things to check

• • Is the signal metering on the UAD Apollo rack unit?

    • Yes - Check the 'Playback Engine' dialog in the 'Setup' menu and ensure it is set to 'HDX'. Check track I/O after restarting Pro Tools

    • No - Ensure signal is metering on console. Check live room connections, microphone and source. Recall Scene 1 and start again. 

Do not progress until this setup is working correctly. Consult the Tech Office for assistance if required

Monitor Path Setup

• • Set the 'Mon Level' control to around 2 o'clock

  • Set masters meters to 'ST'

  • Set monitoring source to 'MON MIX'

  • Turn up the Monitor Mix fader

  • Increase the main volume control, the monitor path signal should now be audible

Things to check if signal is not audible

• • Ensure signal is metering on the master meters. '.L' and '.r' represent the Monitor Mix bus, 'CL' and 'Cr' represent the control room signal

  • Is an unused channel in solo mode? Press 'SOLO CLEAR' in the solo area of the master section to clear all solos

  • Ensure speakers are powered on. The Genelecs have a green LED and the Events will have an orange illumination behind the logo.

  • Select either 'MAIN' (Event Opals) or 'ALT1' (Genelec 1037Bs) as the selected speaker set

  • Ensure the cut buttons in the monitor section are not illuminated (CUT, LCUT, RCUT)

Consult the Tech Office for assistance if required

Insert Effects

Insert Points

Each channel has a dedicated switchable insert point in the channel path, but there are other options for inserting outboard equipment due to the design of the studio patch bay. These are listed in order from start to end based on a typical recording setup

• 1. Channel Path - Insert Send -> Insert Return (engage the 'INS' switch below the EQ section to enable the return)

  2. Channel Path - Direct Outputs -> To DAW (this insert point is post-fader)

  3. Monitor Path - From DAW -> Console DAW Inputs

  4. Main Mix Bus - Mix Ins Send -> Mix Ins Ret (stereo insert point on the Main Mix bus, used for mixing only)

Outboard Effects

The outboard rack in the studio is host to many effects, mostly various types of compressors. The bottom patch bay provides the means to connect to these external devices. There is a list in the studio of which points on this patch bay connect to which unit.

The outboard gear patch bay is wired such that outputs are on the top row, and inputs are on the bottom row.

A Practical Example

There is a signal in the channel path of channel 1 which we would like to compress using the first EL8-X Distressor.

• 1. Patch from 'Insert Send' 1 to 'Outboard Gear' 13 (bottom row)

  2. Set the top Distressor to a useful starting point (eg: all knobs set to '5', ratio set to 6:1, bypass/detector/audio/image link/british mode off)

  3. Patch from 'Outboard Gear' 13 (top row) to 'Insert Return' 1

  4. Enable the channel insert return by pressing the 'INS' switch at the bottom of the EQ section

  5. Adjust the top Distressor to taste, paying attention to output level using the channel meters (in 'CH' channel meters mode) and Pro Tools meters.

Aux Sends

Headphone Mixes

• • There are two stereo aux sends available on the console, Aux A and B. Enable each send by pushing the 'Aux A' or 'Aux B' button on the channel.

  • Each channel can route to either send individually or both simultaneously, however there is only one level control per channel.

  • The Aux A/B level control can be pushed in to select one of four source options per channel. When cycling the Aux A/B sources, the LEDs above the POST and MON labels will indicate their status. For recording, it is recommended to use a pre-fader monitor path source, ie: POST off and MON on.

  • The master level and balance controls for Aux A and B are in the centre section, above the stereo returns.

  • The headphone mix will leave the console via the headphone outputs. Ensure that you have assigned Aux A (or B) as the source for either Headphone Send 1 or 2. Both sends are accessible from the junction boxes in Live 1 and 2.

  • Use the HP1 or HP2 button in the Talkback section to communicate with the artist.

Send Effects

• • Time based effects such as reverb are often incorporated via a common send accessible from every channel.

  • If the effect or mixing situation requires a stereo input, Aux A or B can be used (provided they are not already utilised for headphones)

  • In most situations, a mono send will be sufficient. Aux 1, 2 and 3 are mono sends that may be used.

  • Enable the send by pressing the corresponding Aux button on the channel strip, then turn the level control up

  • The master level controls for Aux 1, 2 and 3 are in the centre section above the stereo returns.

  • All Aux sends are available on the patch bay. Connect the appropriate send to the input of the effect unit (eg: Bricasti M7 is 23-24 on the Outboard Gear patch bay)

  • Connect the output(s) of the effect unit to an appropriate patch bay input for monitoring. For example:

    • Stereo Returns - stereo inputs with basic functionality. May be routed to Main Mix, Monitor Mix and/or HP 1 and 2.

    • Line or DAW Input on a channel - mono input with EQ and ability to be routed to Pro Tools. Use two channels if required for stereo.

  • Vary the send level on the source channel(s) as desired.

Groups

Group Routing

At the head of each channel, there are 'Channel Path Destination LEDs'. As well as 'Main Mix', there are 8 mono groups that may be selected. These 8 groups are located in the centre section below the 2254 compressors and assign section. All channel path destinations are post-fader.

A channel can be routed to a group as follows

• • Select the source channel by pressing the 'SEL' button near the 'MON' level control on the channel. Alternatively, the "<<" and ">>" buttons in the assign section can be used to select the next or previous channel. The currently selected channel is indicated in the assign section on the 7-segment displays

  • The buttons labelled '1' to '8' on the top row of the assign section (as well as the 'MAIN MIX' button in the 2nd row) are used to toggle destination assignments. The buttons will be illuminated when active for the selected channel, and will match the corresponding 'Channel Path Destination LEDs'

  • Turn up the appropriate 'Group Send Trim' to 0dB (all the way) and ensure the 'DAW' switch is not active

  • Set the master meters to 'GRPS'. This will help to identify if your signal is reaching the desired group

If you wish to monitor the group directly, bring the group fader up until audible.

Cool tips for groups

1. Groups will only output directly to the 'Main Mix' bus, not the 'Monitor Mix' bus.

2. Channel panning affects group level such that left pan favours odd numbered groups and vice versa. This is to allow odd-even group pairs to function as stereo groups. Remember to hard pan your 'stereo' groups left and right.

Patch Points

There are a few useful patch points for the 8 groups.

• Bus Out - the earliest possible output from the group section. The signal is affected by the Group Send Trim control only. The rest of the group could still be used for a different signal by utilising the DAW Playback/Insert Return input.

• DAW Playback (Insert Return) - Most commonly used as an insert return when the 'Bus Output' is functioning as an insert send. This could be used to create parallel processing when the source channel(s) are also routed to 'Main Mix'. This input is activated by the 'DAW' button, which could be thought of similarly to the 'INS' switch on the channels.

• Stem Output - Post-fader output from the group. As the name indicates, this could be used for recording stems into Pro Tools. Be careful of feedback if attempting this.

Printing your Mix

The Main Mix bus has two outputs on the patch bay, both of which are available simultaneously, 'Retro' and 'Modern'. These are seperate from the individual channel 'Retro' and 'Modern' bus selections and can be set independently. All channels assigned to Main Mix will arrive at both outputs, regardless of selection.

• • Modern Mix L-R - 'clean' output

  • Retro Mix L-R - audio passes through an output transformer which 'colours' the sound

When you are finished with your mix session, you can record the output of the Main Mix bus back into Pro Tools on a new stereo track. It is important to avoid sending this print track back down the consoles channel path as this could result in uncontrolled feedback or comb filtering. The output of this print track should bypass the Main Mix bus and be patched directly into the monitoring section.

• 1. Turn the control room level all the way down.

  2. Disable all record-arming and input-monitoring on your Pro Tools tracks.

  3. Patch from either Modern Mix L-R or Retro Mix L-R on the patch bay into a pair of spare Pro Tools inputs. Ensure that the channels that these inputs correspond do have their channel path volumes turned all the way down and are cut.

  4. Create a new stereo audio track in Pro Tools with the spare input and its corresponding output set. Rename the track.

  5. Patch from the output used on the new print track to the '2T1' monitoring source, labelled '2 TRACK MON IN L-R' on the patch bay.

  6. Select '2T1' as your monitoring source in the control room section of the console.

  7. Record-enable the new print track and use the console meters to ensure that feedback is not occurring. If feedback occurs, keep the control room level down and do not continue until it is solved.

  8. Press record in Pro Tools and turn the control room level back up. Your mix should be playing and recording into the new stereo track.

Keep in mind that you are now monitoring the output of the print track. If you wish to listen back to the print, just press play. To continue working on the mix in this mode, you may set the print track to input monitoring mode so it will continue to pass signal from the console when in playback.

Other Things to Explore

Solo Modes

In the control room section, there is a small solo subsection near the bottom. The 'SOLO MODE' button will cycle through the four available soloing modes on the console.

• SIP - Solo in Place - all other paths are cut. During a recording pass, this will result in non-soloed channels dropping out of the take. This is often called 'destructive solo' and should not generally be used during recording, broadcast or printing a desk mix.

• AFL - After Fader Listen - soloed channels are routed to the AFL bus post-fader (and post-pan) and this bus will be monitored until all solos are cleared. This is the most common solo mode for studio use

• PFL - Pre Fader Listen - the same as AFL except soloed channels are routed to the PFL bus pre-fader (and pre-pan, so in mono). The main advantage of PFL is that the PFL bus can be monitored on headphones (or a different speaker if wired up) independently of the main studio outputs. PFL headphones are commonly used in live sound and broadcast

• SIF - Solo In Front - same as AFL except the main mix is added to the AFL bus at -10dB. The effect is that soloed channels are still heard above all others, but still have their rhythmic and harmonic context which may help with mix decisions.

Extra Send Effects

The Bricasti M7 is the only time-based effect in the outboard rack, but you can use spare Pro Tools I/O to set up plugins to work like patchable outboard effects.

• • Patch from an unused desk aux send (eg: Aux 1/2/3 for a mono send, Aux A/B for a stereo send) to an unused Pro Tools input (eg: 24, or 23/24)

  • Create a new 'Aux Input' track within your Pro Tools session. Create it as either mono or stereo depending on your aux send.

  • Set the input(s) of the Aux Input to an unused Pro Tools input (eg: 24, or 23/24)

  • Insert the desired effect, such as Mod Delay III. If the Aux track is mono, you can use the (mono/stereo) version of the plugin to give it a stereo output.

  • Set the output(s) of the Aux Input to an unused Pro Tools output, such as 23-24

  • Turn up the aux send level on your source track(s) as well as the aux master

  • Slowly increase the level of the corresponding desk channels (eg: 23-24) and pan them left/right

Parallel Compression during Mixing

The 8 groups available on the desk have insert points that make them perfect for setting up parallel compression. A vocal track provides a simple example of this technique

• • Select the vocal channel using the 'SEL' button

  • In the assign section, select group 1 by pressing '1'. 'Main Mix' should already be selected. Repeat for any other vocal channels you wish to add to the parallel bus.

  • Patch from 'Bus Output' 1 to a compressor of your choice. You could chain an EQ before or after the compressor to further shape the sound.

  • Patch from the compressor's output to 'DAW Playback (Bus Ins Ret)' 1

  • Start with the 'Group Send Trim' all the way up (0dB)

  • Enable the 'DAW' button and turn up the group 1 fader.

  • Adjust compressor/eq/level to taste

You could apply the same principle to drums or other stereo sources by using an odd/even pair of groups (eg: 1 and 2) and linked compressors. Don't forget about the 'Stem Output' patch points, they will allow you want to print your parallel signal back to Pro Tools. You could even return the signal to the input of a spare channel (rather than the bus insert return) to access the onboard eq and aux sends.

Resources

Custom Series 75 Manual [from the manufacturers website]