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revision: 2.2
15 May 2013 5:01 PM
Owner’s Manual
For Software Version 3
Contents
Introduction
About This Manual
3
4
Terminology
Quickstart
4
4
Master Section Rear Panel
Channel Bin Rear Panel
6
8
Powering Up
The Power Supply and Soft Start
Retro and Modern Circuitry
9
9
10
Installation
Health & Safety
Connections
Operation
The 2081 Module
Meterbridge
Input Module
Auxiliaries
2081 EQ
Monitor path, Channel Output & Retro
Channel Path Fader
Master Section
Metering
2254 Compressor
5
5
5
9
12
12
13
13
14
14
15
16
17
18
2254 Compressor Meters
2254 Controls
Limiter
18
18
19
Channel Routing
Channel Functions
Scenes
Custom User Features
19
19
20
20
Oscillator
SLS
21
21
Channel Meter Controls
Master Meter Controls
24
24
Control Room Volume and Controls
Monitor Source
Control Room Headphones
Solo
Talkback and Listen Mic
26
26
27
27
27
Assign Section
Oscillator & SLS
Group Send/Returns
Reverb Returns
Auxiliary Master Section
Headphone Sends
Channel Meters/Master Meters
Console/Channel Modes
Control Room
Faders
19
21
22
23
23
23
24
24
26
28
2
Modifications
29
Modification 1 - Insert Point Post/Pre EQ
Modification 2 - Installing Additional Modules
29
29
Channel & Input Block Diagram
Group Amps
Stereo Mix & Outputs
CR Monitor
AUX Headphone & Stereo Returns
Ancillary
30
31
32
33
34
35
32 Channel Frame
24 Channel Frame
16 Channel Frame
36
36
36
XLR Connectors
1/4” TRS & TS Connectors
DB25 Connectors
40
40
40
7.1 Inputs
Surround Spk (Alt2)
Reverb (Stereo) Returns
Speakers
Aux Sends
SLS, Red Light, TB, Listen
Headphones
Mix Insert, 2 Trk 1,2
Mix Outs & 2254
Group Outputs/Insert Sends
Stem Outputs
DAW/Ins Return
41
41
42
42
42
42
43
43
43
43
44
44
Channel Insert Sends
Channel Insert Returns
DAW Inputs
Line Inputs
Direct Outputs
45
45
45
45
46
Amplifying Stages
Channel Bin
Current Summing
Modern Output Stage
Retro Output Stage
Stem Outputs
Voltage Summing
47
47
47
47
47
47
47
Block Diagrams
Dimensions
Recall Sheets
Wiring Diagrams
Master Section Rear Panel
Channel Bin Rear Panel
Glossary
Credits
30
36
37
40
41
45
47
48
Introduction
band EQ is straight from the 1081, while the output amp
is based on the 1970’s BA283, single ended, class A
circuitry with a gapped core transformer, as used in the
1073 and 2254. Five auxiliary sends, fader swap and a
choice of either classic or modern channel output circuitry
are provided.
With the release of the 1073 mic preamp/EQ in 1970,
and the 1081 released in 1973, Neve’s classic circuitry
has consolidated their position in the professional audio
industry. Since then, a desire for “cleaner” recordings
using modern circuitry has resulted in classic circuitry
becoming an option – but not the only option.
Two 2254 compressors, four stereo reverb returns,
eight recallable scenes, monitoring of up to 12 sources
simultaneously and comprehensive 7.1 monitoring are
just some of the features found in the master section.
The development of technology and the digital world
cannot be ignored.
Available in a 16, 24, 32, 40, 48, 56 or 64 module
chassis, the Series 75 is flexible and able to suit a variety
of studio applications from broadcast to music and even
film production.
With these two mindsets clear, the Custom Series 75 has
achieved a world first, the combination of classic circuitry
and modern circuitry in one console.
The classic Neve circuitry has been painstakingly recreated, keeping faithful to the original whilst taking
advantage of modern assembly methods. The original
circuits have only been changed where justified by an
improvement in reliability or performance. Rather than
running the length of the console, the voltage summing
busses are a mere 150mm long and they are now
balanced, resulting in lower noise and less crosstalk.
Other “charming quirks” of the original circuits such
as the level onto busses varying as more busses are
assigned from a channel, have been overcome. Improved
BA338 amplifying stages and legendary BA283 output
stages combined with classic Neve LO1166 output
transformers, sound warm, defined and punchy.
Designed specifically for longevity, gold plated switches
and connectors have been used for all audio circuits, and
all parts have been selected on their projected availability
many years from now. All capacitors in the signal path are
polypropylene film or Rubycon ZLH series electrolytic,
chosen for superb sonic performance and long life.
Ergonomic design allowing the engineer to reach any
parameter on the board from a seated position (up to
32 Channels) make this console a workstation that is
comfortable for long hours, flexible for countless practical
and creative applications, and unbeatable for sonic
character or transparency!
The Custom Series 75 is a console that is here to stay.
Stereo busses are implemented in both classic (voltage
summing) and modern (current summing) technology
and the feed to these can be selected on a per-channel
basis. The 2 busses are combined at the Main Mix Fader
then passed via (patchable) 2254 compressors and an
insert, to the stereo outputs. There are both modern
(transformerless) and classic (transformer) outputs,
providing maximum flexibility of sonic “flavour”. Naturally
the AFL busses are also replicated for correct Solo
monitoring. The eight Group outputs use classic circuitry,
with the added bonus of Stem outputs, inserts and 8
dedicated faders to feed groups or playback to the stereo
busses. A 32 channel console can mix a total of 80 inputs
to stereo.
The 2081 inline channel module features a blend of
the best features of Neve’s legendary 1073
and 1081 modules. The mic
preamp and 4
3
About This Manual
Quickstart
This manual is designed for Software Version 3.0, and
should be used as a quick reference for owners of the
Custom Series 75 console, not to be read cover to cover,
but as an accompaniment helping you to get to know
your new console. Important terms can be found in bold
allowing you to skim through to the exact section on a
page that is relevant.
If you don't want to read the complete manual, you can
start with the most important sections below:
»» Installation:
http://www.customseries75.com/pdf/
health_safety_installation_connections.pdf
»» Power Up Procedure:
http://www.customseries75.com/pdf/operation.pdf
Terminology
»» Master Section:
http://www.customseries75.com/
pdf/master_section.pdf
Extensive use of terminology, of which we feel it
necessary to define before continuing, is used throughout
this manual. Make sure you are familiar with this before
continuing. The glossary located at the end of the manual
may also assist!
»» Channel Strip:
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
distinguish the physical modules that contain both the
Channel path and Monitor path.
This will give you a starting point from which you can
come back and print out sections that you are interested
in.
DAW - Digital Audio Workstation.
Can I download the
complete manual?
Bus - A summing point for all signals routed to the same
place. All busses in the Series 75 are balanced lines to a
particular destination (e.g. ‘Stereo Local Mix Bus’ picks
up all signals routed from Channels and takes them to the
Main Mix).
Yes, the manual can be downloaded at http:www.
customseries75.com/pdf/customseries75_manual.pdf
Voltage Summing - In the 1970s Voltage Summing was
the only way to sum multiple signals onto a bus. Put
simply, the signal level on the mix bus drops as more
signals are fed to it, typically to around -30dBu. Further,
the mix bus must 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 transformer and amplifying stage – the
“mix amp”. This input transformer will subtly colour the
signal. Once the signal passes through the mix amp it hits
an output transformer. The output transformer is where
much of the sonic colour comes from. In effect, a Voltage
Summing Mix Bus colours the audio in a way that is
pleasing to our ear.
Current Summing - Current Summing is a modern
solution to the 'deficiencies' of Voltage Summing. No
matter how many signals you feed to the mix bus of
a Current Summing 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 via a feedback resistor, resulting in 0V at the
op-amp input. A more sophisticated variant of this circuit
is used to achieve balanced virtual earth mixing as used
in this console. Due to the virtual earth, this design does
not require an input or output transformer. A Current
Summing Mix Bus does not colour the audio.
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.
The following section details the console connections.
Health & Safety
Connections
When initially setting up the Custom Series 75 console
there are a number of health and safety aspects which
must be considered. See the H & S document provided
with the console when delivered for in depth information,
and observe the following at all times.
Countless input and output options, not all of which
will apply to any one studio setup, can be found on the
Series 75. It is recommended that you read this section
of the manual thoroughly, decide exactly which features
will be utilised in your studio, then purchase the cabling
necessary to get the most out of your console.
»» Make sure the power supply and interfaces
are switched off, and have been off for
at least 1 minute, before connecting/
disconnecting power to the console.
A patch bay simplifies the connection of external devices
and can be made to order, however is not necessary.
Available in 24, 32, 40 or 56 point layouts, the patch
bay is a 19" panel that resides in a specially designed
Channel bin on either the left or right side of the console.
Patch points are terminated to DB25 connectors on the
rear of the patch bay for easy connection of console
inputs/outputs and external devices.
»» Be aware that it is unsafe to expose the console
directly to liquid. Position the console away from
air conditioners that may drip water unexpectedly.
It is also not recommended to house water, i.e.,
in a vase, on or in close proximity to the console.
The size of your studio setup will be the major factor
when considering cabling. Individual pre-made cables are
easily purchased and may be a time saving option.
»» In the unlikely event of the console failing
to operate due to an internal issue, contact
the supplier immediately for instructions on
how to proceed. Alternatively, navigate to
'Contact Us' on the Series 75 website (http://
www.customseries75.com), or have the
console professionally serviced at one of our
service centres (details on our website).
Make sure the power supply and interfaces are
switched off, and have been off for at least 1 minute,
before connecting or disconnecting power.
5
Master Section Rear Panel
7.1 Input
Main Spk
R
L
Surround Spk (Alt2)
Reverb (Stereo) Returns
2Trk1 Mon In
R
L
Speakers
Mix Out
Aux Sends
R
L
model type
Made in Australia
SLS, Red Light, TB, Listen
WARNING
Headphones
Group Out/Ins Send
serial no.
N25549
DISCONNECT PSU LEAD
BEFORE REMOVING MODULES
NO USER SERVICEABLE
PARTS INSIDE.
REFER TO MANUAL
Mix Insert, 2Trk 1,2
Stem Out
MIX OUT, 2254
8Trk Play/Ins Ret
Console Power
Serial
Surround Spk (Alt 2)
Connectors for the Main Spk L & R and Mix Out can be
found on both XLRs and DB25. It is recommended that
the DB25 connectors be used. The XLRs may come in
handy for guests who prefer to supply their own monitors,
or if a 2 track recording of a mix on a portable device is
desired.
Up to 8 surround monitors can be connected here. When
Alt 2 is selected as the monitor source in the Control
Room section, the group cuts and solos will effect the
eight individual speaker outputs. Note that a third set
of stereo monitors could be connected here if surround
monitoring is not desired.
The 2Trk1 Mon In is an external input to the Control
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
XLR connectors could be wired here.
DAW outputs or a device containing up to 8 outputs may
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
Mix Output signals. In an ideal world, the Main Speaker
Outputs and Monitor Mix Outputs will be connected to the
main studio speakers. Alt 1 would be connected to your
secondary studio monitors.
There are two separate mix outputs on the Series 75,
Modern and Retro. See Modern Output Stage and Retro
Output Stage for details. Modern Mix Outputs appear
on channels one and two. Retro Mix Outputs appear on
channels three and four.
Aux Sends
Connect these to available interface inputs or a patch bay
as your Stereo Mix Outs. The balanced external inputs to
the 2254 Compressors appear on channels five through
eight.
All 7 auxiliary sends (1, 2, 3, A[stereo] and B[stereo])
appear here. Connect these to your patch bay, XLRs, or
outboard effects inputs.
Group Outputs/Ins Send
SLS, Red Light, TB, Listen
If Group Outputs (balanced) are desired, these should be
connected to available DAW inputs. These outputs can
also act as Group Insert Sends, in which case connect
these to male XLR connectors or a patch bay.
The first two channels carry the Studio Loud Speaker
(SLS) output signals. The external input to the SLS
are available on channels three and four. The Studio
Red Light is to be connected to channel 5, taking into
consideration that this circuit is not suitable for mains
power and should be run at 1 AMP 24 Volts maximum.
Connect an External Talkback Switch, if desired, to
channel 6. A Listen Mic Input can be connected to
channel 7, and PFL Out is available on channel 8.
Stem Out
The Stem Outputs carry the eight Group signals postfader. Recommended as inputs to your DAW, and useful
for stem mixing.
Headphones
DAW/Ins Return
Carries two balanced (channels one through four)
and two unbalanced (channels six and seven) stereo
headphone outputs. The unbalanced outputs are able
to drive up to 10 headphones (without the need for an
external headphone amp), the balanced outputs will need
to be connected to a headphone amp.
Extra DAW outputs could be connected here to achieve a
further eight inputs of monitoring. However, if the Group
Outputs/Ins Send connector was used as Insert Sends,
use these as your Group Insert Returns.
Mix Insert, 2TRK 1,2
Post 2254 balanced insert sends and returns appear on
the first four channels of this connector. 2-Track 1, and
2-Track 2 inputs appear on channels five through eight.
7
Channel Bin Rear Panel
DI Inputs
8
7
6
5
4
3
2
1
Mic Inputs
Send
Inserts
DAW In
Line In
Direct Out
Return
Line In
On the rear panel of each Channel Bin you will find eight
balanced Mic Inputs (XLR) and eight DI inputs (1/4").
DAW Inputs and Line Inputs are available on DB25
connectors. These feed the input of each 2081 Module.
Mic Inputs are supplied Phantom Power on a per-channel
basis.
Envisioned connection is the output of external devices
(such as outboard effects or any other line level devices).
These may feed the Monitor path or the Channel path
dependent on the state of the module Input selection.
Insert Sends/Insert
Returns
Direct Out
Post-fader output from the Channel path. The Direct Out
is always active, connect this to your DAW inputs.
These carry the Insert Sends and Returns from the
Channel path. Connect to a patch bay, or individual XLR
connectors.
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
Soft Start
The Custom Series 75 is powered by an external Power
Supply, and utilises Soft Start Technology.
A large current is needed to power the console. A circuit
board containing a microchip (known as the Soft Start
board) slowly ramps the voltage up to the required
amount. This procedure stops the power supply from
drawing to much power and tripping the mains circuit. In
the event that the console does not power up, the Green
Light will not indicate on the front of the Power Supply,
and instead the Red Fault Light will be active.
To ensure a safe power up, observe the following
procedure.
1. Switch off Mains Power.
2. Double check that the 115/230V Voltage Selector
on the rear of the Power Supply is in the correct
position in relation to your mains supply.
This indicates that one of the following errors has
occurred:
3. Connect the cable from the rear of the Power
Supply to the rear panel of the consoles Master
Section. Align one of the two tabs on the
outside housing of the power cable, with the
Centre Tab indicated on the image below. Slot
the power cable into the connector on the rear
panel of the Master Section. Screw the outside
housing of the power cable into the rear panel
connector ensuring that it locks into place.
»» The 115/230V Voltage Selector, found
on the rear of the power supply, may
be in the incorrect position.
Or
»» One or both of the two fuses found on the
Soft Start circuit board may have blown –
power down, remove the lid of the Power
Supply, and locate the two fuse holders found
adjacent to the 115/230V Voltage Selector
(this is rare, generally there will be a reason
the fuse has blown – it is highly recommended
that the power supply be professionally
serviced). Replace with 6 AMP fuses.
4. All audio outputs are automatically muted
during the consoles power up procedure.
5. Switch the Power Supply on using
the two position switch located on
the front panel, up is on.
The Green Light on the front of the Power Supply should
light. Due to the classic circuitry, the console will take
15 seconds to stabilise during which all meters will light
before returning to the default view.
If neither of the above solutions fix the problem, have the
Power Supply professionally serviced.
9
Retro and Modern
Circuitry
Typical Setups
The following outlines how to achieve both Retro and
Modern sounds in a record, mixdown and overdub
environment. Keep in mind that these are not the only
scenarios possible. For further assistance, please consult
the block diagrams.
The Custom Series 75 console can achieve the Retro
sound of classic 1970’s circuitry, or the Modern sound
of modern circuitry. There are a few ways in which these
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
Retro
If you would like to quickly compare the sound of the
Voltage and Current summing busses (see the Glossary
for definitions of these), and the Retro and Modern output
stages, try the following. Please then read on for a more
in depth explanation of the signal flow.
Using a typical signal path for recording, i.e.
Mic Input
[Ins-pre]
2081 EQ
[Ins-post]
Fader
Direct Output
1. Make sure you have a large number
of signals being routed through the
Channel paths of the console.
2. Do not select RETRO on the Channel modules
or in the Console Modes section. This will
route all channels to the Modern summing bus.
Save as Scene 1 by selecting STORE and 1
when the eight scene buttons are flashing.
Multi-Track
3. Now select RETRO in the Console Modes
section. This will route all channels to
the Retro summing bus. Save as Scene
2 by selecting STORE and 2 when the
eight scene buttons are flashing.
The signal will pass through a L0468 Input Transformer
at the input stage, and an LO1166 Output Transformer,
post-Fader, before feeding the Direct Out (always active)
to the Multi-Track.
4. For now, select MODERN OP in the
Monitor Source section so that the main
output stage remains uncoloured.
The resulting recorded signal will be marginally
‘coloured’.
Modern
5. By switching between Scene 1 and Scene
2 you will hear the difference between each
summing bus. The stronger the signals are
driven the more obvious the colouration will be.
To record a clean signal (transformerless), bypass the
L01166 Output Transformer by patching the Insert Send
directly to the Multi-Track Inputs. The Input Gain and Trim
on the Channel will now be the only level to the MultiTrack. Engaging Fader Swap (depressing the High Pass
Filter Selector) will result in the Fader controlling the level
of the Multi-Track return, which may be more comfortable.
6. Now, toggling between MODERN OP
and RETRO OP in the Monitor Source
section will enable you to hear the
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
Custom Series 75. One is based on Voltage Summing
technology, the other on Current Summing technology
- see the Glossary for explanations of each of these.
Further, there are two selectable main mix outputs, the
Retro Output (LO1166 Transformer) and the Modern
Output (transformerless).
Keep in mind that each of the eight Groups contains
both a L0468 Input Transformer and an LO1166 Output
Transformer. If a Channel is routed to a Group, it is
summed on a Current Summing Mix Bus (the Group Mix
Bus) before being passed through both transformers and
fed to the Main Mix Fader.
The Groups are also patchable via the ‘8Trk Play/Ins Ret’
and the ‘Group Out/Ins Send’ DB25’s on the rear panel
of the Master Section, or could be made available on a
patchbay.
Retro
On the 2081 module of the Custom Series 75, selecting
RETRO assigns the Channel Output to the Voltage
Summing Mix Bus.
DAW/Line Input
[Ins-pre]
2081 EQ
[Ins-post]
Fader
Voltage Summing
Mix Bus
Further Experimentation
The flexibility of the Custom Series 75 becomes apparent
when combinations of the above are implemented.
Using the RETRO button to rout some channels to the
Voltage Summing Mix Bus and others to the Current
Summing Mix Bus, which are then summed at the Main
Mix Fader, can add desired ‘colour’ to individual sounds.
Assigning or patching signals to the Groups allows further
colouration, and selecting RETRO OP and/or MODERN
OP to output your mix via an LO1166 transformer, an IC,
or both (!) results in ultimate control over a mix.
This then feeds the Main Mix Fader. Selecting RETRO
OP in the Monitor Source section of the Master Panel
routes the Main Mix Fader through a LO1166 Output
Transformer to the Retro Outputs on the Mix Out DB25.
The Channel Retro can be engaged globally in the
Console Modes section of the Master Panel.
Modern
If RETRO is not selected on the Channel module, the
Channel output is assigned to the Current Summing Mix
Bus.
This then feeds the Main Mix Fader. Selecting MODERN
OP in the Monitor Source section of the Master Panel
DAW/Line Input
[Ins-pre]
2081 EQ
[Ins-post]
Fader
Current Summing
Mix Bus
routes the Main Mix Fader via an IC to the Modern
Outputs on the Mix Out DB25.
11
The 2081 Module
Each inline 2081 Channel Module has two
independent paths, CHANNEL path and
MONITOR path. Multiple inputs can be
selected for each path. The Channel path is
controlled by a fader, and the Monitor path
is controlled by a rotary. The Channel path
is normally used to process audio to or from
your DAW, and the Monitor path is normally
used to listen to the return from your DAW
or effects processors.
You will notice that the multiple inputs for
the Channel path can be cycled through at
the top of the module using INPUT, when
no LEDS are active, the input is set to Line.
The Channel path output fader is at the
bottom of the module, this feeds the Direct
Out or the Stereo Bus via the Voltage or
Current Summing Bus (switchable using the
Retro button). The controls for the Monitor
path can also be found at the bottom of
the module, just above the Channel Path
Fader.
Two stereo and three mono Auxiliary
Sends can be sourced from the Channel
or Monitor path (pre or post fader) by
depressing the level control.
Meterbridge
N2081
1
2
3
4
5
6
7
8
FADER
SWAP
MAIN
MIX
0
O
18
30
24
36
42
-10 TRIM 10
48
12
6
0
60
66
+48V
54
MIC/DI GAIN
INPUT
MIC DI DAW
100
150
50
300
25
AUX B
L
PAN
R
AUX A
AUX 3
AUX 2
+3
AUX 1
OFF
15
10
-
+2
+
GAIN
6.8
3.3
OFF
1.5
8.2
1.8
4.7
3.3
3.9
OFF
1.2k
-
560
33
-
56
GAIN
-3
-8
-7
-16
-10
-24
-20
-36
+12
+8
0
-3
-8
-7
-16
-12
-20
-10
-30
EQ
+16
-4
-20
+
180
330
INS
-1
-12
+
GAIN
HI Q
-
0
CLIP
+20
+4
-4
100
-24
-30
-20
-36
LINE
L
I
S
O
PAN
R
SEL
MON 10
0
0
The EQ found on the 2081 Channel Module
offers the classic sonic flavour of the
1073, with the functionality of a 1081. The
output amp is based on the BA283, single
ended, class A circuitry with a gapped
core transformer, as used in the 1073 and
2254 Compressor. The recreation of the
circuitry sees the same sonic qualities
as the original, heralded as eminently
'musical', whilst a far cleaner and quieter
signal through the redesign of the BA338
amplifying stage has been achieved.
0
HI Q
390
470
OFF
+1
+8
-1
+
GAIN
330
1k
820
680
+12
0
2.7
220
270
+2
+4
2.2
5.6
+16
+3
+1
4.7
6.8
CLIP
+20
SIG
RETRO
L PAN R
SOLO
PAN
CUT
At the top of each module, there is a Bargraph Meter.
The bargraph meters can display any of the available
inputs for the module of which there are four, Mic/Line/DI/
DAW (see Channel Meters section for details).
Signals on the Channel path can be routed
to multiple destinations by focusing the
Channel in the Assign Section using the
Channel Select button. Destinations include
the Voltage Summing Bus (Retro), Current
Summing Bus (Modern), Main Mix, and
Groups.
In PPM mode, the top 4 LEDs are brighter to indicate
proximity to clipping. In VU mode, the top 8 LEDs are
brighter.
The Channel Number is indicated by an LED display
directly below the bargraph meters. These will light once
the console has been powered up.
The following looks at the individual
controls of the 2081 Channel Module in
great detail. Descriptions of the console's
signal flow can be found in the Signal Flow
section, and diagrams can be found in the
Block Diagrams section.
Labels on the left side of the bargraph indicate VU
readings (+4dBu), and the right, PPM (-10dBV).
12
Input Module
N2081
1
2
3
4
5
6
7
8
FADER
SWAP
MAIN
MIX
0
O
18
24
30
36
42
48
12
6
0
66
60
MIC DI DAW
100
25
+48V
54
MIC/DI GAIN
50
-10 TRIM 10
150
300
INPUT
Auxiliaries
The Input Module hosts the
Channel Input Selector, Gain
and Trim, Phase, 48V, and
High Pass Filter. All buttons
are recallable using the
consoles scenes.
AUX B
L
PAN
AUX A
The Input Selector cycles
through the four available
Channel path inputs. Mic,
DI and DAW are indicated
by LEDs, when no LEDs are
active the Channel input is
Line. Once the desired input
has been selected, Phantom
Power (48V), Gain and Trim
controls will adjust the input
signal level. The 12 position
gain switch (0dB → 60dB) will
allow an approximate gain
value to be reached. The trim
control will adjust the input
signal more precisely (-10dB
→ +10dB).
AUX 3
R
Each module contains two
stereo (A & B) and three mono
(Aux 1, Aux 2, Aux 3) Auxiliary
Sends. The order in which
Auxiliaries 1 to 3 are accessed
is bottom to top respectively.
A & B are situated above the
three mono sends. All features
other than the level controls
in the Auxiliary Section are
recallable.
Auxiliary 1, 2 and 3 have
individual level controls.
AUX 2
Auxiliary A and Auxiliary B
are stereo sends that share
a level control. All Auxiliary's
default position is pre-fader on
AUX 1
the Channel path. When the
level controls are depressed,
they cycle through the
conventional positions in the
following order - Channel Pre,
Channel Post, Monitor Pre, Monitor Post.
If required, the Phase control
will invert the incoming signal.
The High Pass Filter with frequency selection allows
low frequencies to be rolled off using the continuously
variable control between 25Hz and 300Hz (18dB/octave).
If desired, Send A and B can be engaged simultaneously.
If both sends are active (i.e. for two stereo cue sends),
the shared level control will increase/decrease the overall
level and the pan will balance the level across the active
sends.
The HPF Frequency Selector has dual functionality.
When the HPF button is selected it will act as a frequency
selector. When depressed the module will engage Fader
Swap mode.
Two available stereo cue sends allow the flexibility of Aux
A being active on one module, whilst Aux B is active on
another.
Fader Swap will swap the Channel Path Fader with
the Monitor Path Rotary. For example, when CH IN is
selected in the Console Modes section, the Channel Path
Fader would control signals to tape, and the Monitor Path
Rotary would control Monitor Mix levels. Note that Fader
Swap can also be activated on a selected Channel in the
Assign Section, or globally activated across all Channels
in the Console Modes section.
Below the Channel Meter are the Channel Path
Destination LEDs. These display the destination to which
the Channel path output has been routed. Groups 1 - 8 or
Main Mix (Direct Outputs are always active). This is just
an indication for convenience (see the Assign Section
for how to route a Channel to a group). The Fader Swap
LED indicates if Fader Swap is active on the Channel.
13
2081 EQ
15
10
-
+
GAIN
6.8
3.3
OFF
8.2
1.5
6.8
5.6
4.7
1.8
-
HI Q
2.2
4.7
3.9
OFF
1.2k
3.3
2.7
220
270
-
820
680
560
OFF
+
GAIN
HI Q
330
1k
+
GAIN
56
-
GAIN
+
100
180
330
INS
LINE
L
I
S
O
EQ
as opposed to four.
PAN
R
SEL
MON 10
SIG
RETRO
L PAN R
SOLO
All buttons are recallable.
390
470
33
Based on the acclaimed 1973
- 1081 EQ. In a recording or
mixdown environment the
2081 Channel Module's EQ,
blurs the line between circuitry
and musicality. In comparison
to the original, tweaking the
circuitry that controls drive
ability and stability versus
temperature has resulted
in reduced distortion and
approximately 9dB more
dynamic range. If you are
familiar with the original, you
will experience far cleaner and
quieter output, with that same
eminent 'musical' quality.
0
0
OFF
Monitor path, Channel
Output & Retro
Until EQ is selected, the
circuitry is hard bypassed, i.e.,
the input is connected directly
to the output. Further, each
band is hard bypassed until a
frequency is selected. This is
a new feature not present in
the original 1081, resulting in
less noise on a signal running
through just one or two bands
PAN
CUT
The Monitor path section
features a rotary trim control
and two selectable inputs, DAW
and Line. Line, Retro, Cut, Solo
and Solo Isolate are recallable.
The default input for the Monitor
path is DAW when CH INPUT
is selected, and LINE when
MON INPUT is selected in
the Console Modes section.
Selecting LINE will toggle
between these two inputs. DAW
is the envisioned return from
your chosen multi-track. Line
may be a return from external
equipment such as effects
units. The Signal LED will
indicate when the Monitor path
is receiving signal.
The Pan control in the Monitor path section is dual
function and will Solo Isolate when depressed.
Channel Select (SEL) will Focus the Channel in the
Assign Section of the console. From here, the Channel
can be routed to the Main Mix or Groups 1 through 8.
The Channel path Pan, Solo (see Solo Modes) and Cut
can be accessed directly below the Monitor path section.
By default, the Pan knob is inactive. Channel Panning
can be activated globally in the Channel Modes section,
or individually by selecting the Channel and pressing
PAN in the Assign Section. As with the Monitor path, the
Pan control in the Channel path has dual functionality
and will Solo Isolate when depressed.
The 2081 EQ is a four band semi-parametric EQ. Bell
curve and Hi Q controls, adjacent to the Frequency
Selectors, switch between a narrow/wide Q on the high
and low mids, or a narrow Q/shelving EQ on the high and
low frequencies.
The Frequency Selector controls are stepped and select
which frequencies will be boost/cut by the continuously
variable gain controls. When set to the 12 o’clock position
the Frequency Selector is off and the band is in hard
bypass.
The Pan LED indicates if Pan is active on the Channel.
Note that panning will only be effective if the Channel is
routed to the Main Mix or multiple Groups.
Retro routes the Channel path to the Retro Output Stage,
if inactive the Channel path feeds the Modern Output
Stage.
EQ Ranges:
»» HF - 3.3Khz - 15Khz
»» HM - 1.5Khz - 8.2Khz
»» LM - 220Hz - 1.2Khz
»» LF - 33Hz - 330Hz
The INS and EQ controls at the bottom of the 2081 EQ,
engage the insert and EQ respectively. The insert point
defaults post-EQ, pre-fader. If desired, this can be moved
pre-EQ by a jumper on the Channel circuit board (for
details see Modifications).
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
+3
CLIP
+20
+12
+1
+8
0
+4
0
-8
-3
-7
-16
-10
-24
-7
-16
-10
-24
-3
0
+8
0
+1
+8
0
0
-3
-8
-7
-16
-10
-24
-3
-7
-16
-10
-24
-8
-7
-16
-10
-24
-36
N2069
0
+12
+8
+4
0
0
-1
-4
-3
-8
-7
-16
-10
-24
-4
-8
-3
-8
-12
-7
-16
-10
-24
-12
-7
-16
-10
-24
-20
-20
-30
-30
-30
-36
-20
-36
-20
+16
-36
-20
IN
GR
METER
IN
GR
OUT
IN
METER
LINK
OUT
10
0
-10
+8
N3673
IN
MAIN
MIX
+1
-1
-20
-36
-20
+12
+4
-12
-30
-36
-20
-3
-20
-30
0
CLIP
+20
+2
+16
-4
-12
-20
-30
+8
0
-1
-4
-12
+1
+4
0
-1
+12
+3
CLIP
+20
+2
+16
+4
-4
-8
-20
+12
+3
CLIP
+20
+2
+16
+4
-1
+3
CLIP
+20
+2
+1
-20
-36
+3
+12
-12
-30
-20
+8
+16
-4
-20
-36
+1
0
-1
-8
-30
+12
+4
-12
-20
CLIP
+20
+2
+16
-4
-12
-20
+8
0
-1
-4
-3
+1
+4
0
-1
+12
+3
CLIP
+20
+2
+16
800mS
1.5S
400mS
AUTO
CAL
60
100
1K
10K
16K
40
-20
COMP IN
20
800mS
200mS
+16
+4
+20
3:1
2:1
AUTO
100mS
PFL
EXT
MAIN
MIX
DIR
SLS
SLS 10
4:1
1.5:1
6:1
0
AUX1
AUX2
0
0
0
+12
+8
OSC
LEVEL 10
GRPS
PINK
COMP RECOVERY
0
0
GAIN MAKE UP
0
0
0
COMP THRESHOLD
0
0
+10
0
0
0
+3
CLIP
+20
+2
+16
+1
180
AUX3
0
0
AUX A
L BAL R
0
0
0
+2
0
0
+3
AUX B
L BAL R
AUX SEND TRIMS
FAST ATTACK
800mS
HP 2
+12
COMP RECOVERY
800mS
200mS
3:1
2:1
AUTO
100mS
+16
+8
COMP IN
20
LIMIT RECOVERY
1
2
3
4
5
0
MAIN
MIX
FADER
SWAP
PAN
GRP
VIEW
K
PEAK
LED
SIG
LED
10
MAIN
MIX
MON
MIX
MAIN
MIX
MON
MIX
SOLO
SOLO
ISO
SOLO
SOLO
ISO
SOLO
SOLO
ISO
SOLO
SOLO
ISO
AUX 2
AUX A
MON
MIX
AUX 1
AUX 2
AUX A
MON
MIX
AUX B
MAIN
MIX
CR
MON
AUX B
MAIN
MIX
2254
LEFT
6
7
8
CR
MON
REV RET 2
AUX 3
AUX 3
CONSOLE MODES (HOLD)
CH
MON
DIR
FADERS
VU
PEAK
CH
INPUT
MON
INPUT
PAN
ST
MON
AUX
PFL
REV
RET
-6dB
FADER
SWAP
MON
MAIN
MIX
INS
MASTER METERS
>>
GRP5
0
GRP6
0
GRP7
0
0
0
0
0
0
GRP4
0
0
0
RETRO
ESC
<<
0
0
GRP3
0
0
0
0
0
0
0
GRP2
L BAL R
10
HEADPHONE SEND 2
CHANNEL METERS
CHANNEL MODES (HOLD)
CRM
HP
0
REV RET 4
REV RET 3
L BAL R
10
GRP8
PFL
Hp1
Hp2
AUX B
HP + PFL
iMON
GRP1
10
MON
MIX
REV RET 1
COMP RATIO
RCL
AUTO
HP 1
10
MAIN
MIX
HEADPHONE SEND 1
STORE
L BAL R
6:1
FAST ATTACK
LIMIT LEVEL
HP 1
MON
MIX
0
0
LIMIT ON
HP 1
10
4:1
1.5:1
+20
HP 1
MAIN
MIX
AUX 1
+4
L BAL R
0
0
0
GAIN MAKE UP
HP 2
L BAL R
AUTO
+10
COMP THRESHOLD
HP 2
L BAL R
0
0
400mS
-20
HP 2
1.5S
0
0
-10
2254
RIGHT
COMP RATIO
10
0
0
0
LIMIT RECOVERY
0
0
LIMIT ON
LIMIT LEVEL
0
0
The Assign Section and Console Modes allow
you to quickly and easily shift between record,
mixdown and overdub environments. The eight
recallable Scenes allow you to recall all software
controlled buttons.
90
VU
K
The Master section of the Custom Series
75 is host to two linkable (and externally
patchable) mono 2254 compressors, the 2081
Channel Module routing options, eight Groups,
comprehensive monitoring, Listen Back and
Talkback controls, Headphone Sends, and an
analog Oscillator. There are also eight multiple
function bargraphs, two VU meters, a Phase
Meter and four Stereo Returns.
0
90
-180
VU
0
2T1
2T2
7.1
iMON
AUX 3
AUX A
SUM
RETRO
OP
MODERN
OP
MON
MIX
AUX 1
AUX 2
GROUP SEND TRIMS
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
DAW
DAW
DAW
DAW
DAW
DAW
DAW
DAW
SOLO
ISO
SOLO
ISO
SOLO
ISO
SOLO
ISO
SOLO
ISO
SOLO
ISO
SOLO
ISO
SOLO
ISO
0
111/2
-30 DIM
MAIN
ALT1
ALT2
SURROUND
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
LCUT
MONO
0
TALK
AFL PFL SIP SIF
SOLO
RCUT
LISTEN
MIC
TALKBACK
SOLO
MODE
AUX
HP1
LISTEN
RED
LIGHT
LINK
CUE
HP2
SLS
STATUS
LOCK
SOURCE IN MONO
CUT
CUT
CUT
CUT
CUT
CUT
CUT
CUT
1
2
3
4
5
6
7
8
1
2
3
5
4
GROUP RETURNS
6
7
8
16
GROUP RETURNS
CUT
CAL
SWAP
DIM
SOLO
CLEAR
MAIN MIX
MONITOR MIX
Metering
90
0
90
-180
VU
+3
+2
CLIP
+20
+16
+3
+2
CLIP
+20
+16
+3
+2
+1
+12
+1
+12
+1
0
+8
0
+8
0
+4
-1
0
-8
-7
-16
-24
-3
-7
-16
-10
-24
-3
-36
+2
+12
+1
+8
0
0
-8
-7
-16
-10
-24
-1
-36
+2
+16
+12
+1
+8
0
-3
0
-1
-8
-7
-16
-24
-3
+3
+2
+12
+1
+8
0
0
-8
-7
-16
-10
-24
-1
-3
-20
The Series 75 Master Section features a comprehensive
meterbridge. Eight 42 segment Bargraph Meters allow
for seamless VU or PPM metering of the Main Mix,
Monitor Mix, Auxiliaries, Groups, or Reverb Returns.
When in PPM Mode, the top four segments of each
bargraph meter will light brighter to indicate the proximity
to clipping. In VU Mode, the top eight segments will light
brighter.
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.
The signals that are currently being metered are
indicated by one of the five LEDs situated in the centre
of the bargraphs. The desired metering mode can be
selected in the Master Meter Controls section. Further,
two seven segment LEDs directly below each bargraph
indicate which signal each is metering.
The following is an explanation of the possible scenarios.
REV - Bargraphs are displaying the four stereo Reverb
Returns - 1L, 1r, 2L, 2r, 3L, 3r, 4L, 4r
MIX - Bargraphs are displaying Main Mix Outputs,
Monitor Mix Outputs, Control Room Outputs and AFL
Outputs - L, r, .L, .r, CL, Cr, AL, Ar
AUX - Bargraphs are displaying the Auxiliary Sends and
the PFL Solo Bus level - A1, A2, A3, AL, Ar, bL, br, PF
GRP - Bargraphs are displaying the Group levels (prefader) - 1, 2, 3, 4, 5, 6, 7, 8
17
-36
+3
+2
+12
+1
+8
0
0
-8
-7
-16
-10
-24
-1
-3
+3
+2
+12
+1
+8
0
0
-8
-7
-16
-10
-24
-3
+12
+8
0
-8
-12
-7
-16
-10
-24
-20
-30
-36
+16
-4
-20
-20
CLIP
+20
+4
-1
-12
-30
-36
+16
-4
-20
-20
CLIP
+20
+4
-12
-30
-36
+16
-4
-20
-30
CLIP
+20
+4
-12
-20
-20
+16
-4
-12
-10
CLIP
+20
+4
-4
-30
-20
+3
CLIP
+20
+4
-20
-30
-20
+3
-12
-20
-30
-36
-8
+16
-4
-12
-20
-20
-1
-4
-12
-10
0
CLIP
+20
+4
+4
-1
-4
-3
180
VU
-30
-20
-36
2254 Compressor
the Master Section. When the Mix button is
inactive, the 2254 will process the external
inputs.
N2069
MAIN
MIX
METER
IN
IN
IN
GR
GR
OUT
IN
METER
LINK
OUT
10
0
-10
IN - Lights yellow when selected. Sends the
signal through the units circuitry, even if the
unit does not have the Limit or Compress
functions selected. If unlit, the unit is hard
bypassed, i.e., the input is connected directly
to the output.
800mS
1.5S
400mS
AUTO
+10
-20
0
COMP THRESHOLD
+12
+16
+4
+20
COMP RECOVERY
800mS
200mS
+8
2:1
AUTO
100mS
3:1
4:1
1.5:1
LIMIT ON
LIMIT LEVEL
6:1
FAST ATTACK
LIMIT RECOVERY
2254
RIGHT
COMP RATIO
10
0
-10
COMP IN
20
GAIN MAKE UP
800mS
1.5S
400mS
AUTO
0
COMP THRESHOLD
GAIN MAKE UP
+12
200mS
+8
+16
+4
+20
LIMIT LEVEL
COMP IN
20
100mS
COMP RECOVERY
800mS
2:1
AUTO
3:1
4:1
1.5:1
LIMIT ON
6:1
FAST ATTACK
LIMIT RECOVERY
ST LINK - Lights yellow when selected. Press
this button when you wish to link both 2254
units together. This will process the left and
right side of the Main Mix, or an external
signal which has been patched into the rear
panel of the Master Section.
2254 Controls
COMP IN - Switches the Compressor in (up)
and out (down) of the circuit.
+10
-20
METER - Cycles through the Meter display
options. Meters can be set to display either
the Input signal (IN LED will be active),
Output signal (OUT LED will be active), or
the amount of Gain Reduction applied to the
signal by the Compressor and Limiter in total
(GR LED will be active).
COMP RATIO
2254
LEFT
COMP THRESHOLD - Can be varied in 2dB
steps from -20dBu to +10dBu, thus a wide
variety of effects can be achieved. Low Ratios
operated with a low Threshold will preserve
the dynamic range and also achieve a high
signal to noise ratio. A high Ratio with a high
Threshold will behave as a partial limiter.
GAIN MAKEUP - Provides up to 20dB of
additional gain in 2dB steps.
The two on-board 2254 mono compressors are based
on the classic 2254 series originally released in 1969.
This particular model was re-released in 2009. A powerful
compressor/limiter, all buttons can be stored and are
recallable using the Series 75 Scenes.
COMP RECOVERY - Sets the response time the
compressor takes to return to 0dB gain reduction.
Three presets are provided: 100 ms, 200 ms, 800 ms,
plus an AUTO setting.
Both 2254's are available externally on the rear panel of
the Master Section, or can be linked and applied to the
Main Mix.
In the AUTO position, both the Attack and Recovery times
are composite and self-adjusting. Speeds are rapid for
isolated peaks, while remaining slow for persistently high
levels, so the impression of a normal dynamic range is
preserved as the program rides on a slowly moving 'gain
platform'.
2254 Compressor
Meters
COMP RATIO - Controls the ratio of gain reduction to
input signal level.
MIX - Will apply the 2254 Compressors to the Main Mix
Outputs, pre-fader and before the insert points. The 2254
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
6:1.
Any selected Channel(s) can be routed to one or
more Groups by pressing and holding any one of the
Group Buttons 1 - 8. This sums the selected Channel
output(s) onto the selected Group Mix Bus, and outputs
the resulting signal to the Group Outputs and the Stem
Outputs post-fader.
The control characteristic is shaped such that the onset
of compression is smooth and progressive, the true
ratio being reached within the first 5 to 10dB above the
Threshold.
GRP VIEW - This displays which Channels are assigned
to which Group. Select the GRP VIEW button (latches)
and hold the Group button that corresponds to the Group
you would like to view. The Channel Select buttons that
are lit indicate that those Channels are routed to that
Group. Select the GRP VIEW button again, or ESC to
exit Group View mode.
Limiter
Limit On - Switches the Limiter in (up) and out (down) of
the circuit.
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
setting (AUTO). In the AUTO position, both the Attack
and Recovery times are composite and self-adjusting.
Speeds are rapid for isolated peaks, while remaining slow
for persistently high levels, so the impression of a normal
dynamic range is preserved as the program rides on a
slowly moving 'gain platform'.
Once a Channel has been Focused in the Assign Section
using the Channel Select button, or multiple Channels
have been Focused using Multi-Select mode:
MAIN MIX - Routes the selected Channel(s) to the Retro
and Modern Mix Outputs via the Main Mix Fader.
FDR SWAP - Swaps the Monitor Path Rotary with the
Channel Path Fader, ie, the Monitor Path Rotary now
controls the Channel path output, and the Channel Path
Fader now controls the Monitor path output. Note: All
other controls remain unchanged.
Fast Attack - Switches the attack time from 100 µs
(up) to 5 ms (down). A slower Attack Time will avoid
unpleasant effects when processing signals of a
percussive nature (such as solo piano). In this way, a
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,
panning will occur across odd and even Groups.
Assign Section
1
2
3
4
5
0
MAIN
MIX
FADER
SWAP
PAN
GRP
VIEW

PEAK
LED
SIG
LED
STORE
AUTO
6
7
8
RCL
ESC
<<
>>

The Assign Section of the Series 75 allows selected
Channels to be routed to multiple destinations, Scenes to
be stored and recalled, and Custom User Features to be
set up.
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.
When a Channel is selected it is focused in the Assign
Section and the previous Channel is deselected.
19
Scenes
Custom User Features
All recallable buttons on the console can be stored and
instantly recalled later. These stored settings are called
Scenes. A total of eight Scenes can be stored using
buttons 1 - 8.
The following features are aimed at integrating the user's
personal workflow with the Series 75 console.
All user features are recallable using the console's
Scenes.
Scene 0 cannot be stored over, and when recalled,
returns all recallable buttons to their neutral state based
on the state of the CH INPUT/MON INPUT buttons.
↑ & ↓ - Used in conjunction with PEAK LED and SIG
LED to calibrate the level at which the Peak LED and
Signal LED on the 2081 Channel Module will indicate.
Hold PEAK LED or SIG LED and calibrate using ↑ & ↓.
The Dim Level in the Control Room section can also be
used to perform this function.
To Store a Scene:
1. Select STORE.
When calibrating, the level will be displayed on a scale
of 0 - 100 on the Assign Section 7 segment LED Display.
The Peak LED can be calibrated within +6VU to +18VU
(corresponds to +10dBu to +24dBu) and the Signal
LED can be calibrated between -20VU and -10VU
(corresponds to -24dBu to -14dBu).
2. The eight Scene/Group Buttons will flash
and the LED display will show 'ST'.
3. Select one of the eight flashing
Scene/Group Buttons.
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
features. The following lists the possible displays:
4. Select STORE again to confirm.
To Recall a Scene:
1. Select RECALL.
»» Output volume in dB when the Control
Room Volume is altered.
2. The eight Scene/Group Buttons, and Scene
0, will flash. The LED display will show 'rc'.
»» Threshold of the Peak LED/Signal LED,
using a 0 - 100 scale, when calibrating.
3. Select the Scene/Group Button under which
a previous Scene has been stored.
»» ST whilst storing a Scene.
»» rc whilst recalling a Scene.
4. Select RECALL again to confirm.
»» cP whilst copying a Scene.
BEWARE! This will reset the console, losing the
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.
2. The eight Scene/Group Buttons, and Scene
0, will flash. The LED display will show 'cP'.
3. Select the Scene/Group Button under which
the previously saved Scene is stored.
4. Select COPY again.
5. The eight Scene/Group Buttons will flash again.
6. Select the Scene/Group Button under which
you wish to copy the selected Scene to.
7. Select STORE to confirm.
20
Oscillator & SLS
Oscillator
N3673
60
0
0
40
LEVEL 10
OSC
100
1K
10K
16K
GRPS
PFL
EXT
MAIN
MIX
DIR
SLS
PINK
0
0
CAL
SLS 10
SLS
OSC - Activates the Oscillator, which in conjunction with
the seven position switch can output 40hz, 60hz, 100hz,
1Khz, 10Khz, 16Khz or pink noise.
The Studio Loudspeaker (SLS) is an additional speaker
output designed for foldback or playback in the live
room. The LEVEL control operates between -20dBu and
+10dBu.
GRPS - Routes the Oscillator to the Group Outputs.
MIX - Routes the Oscillator to the Main Mix Outs.
DIR - Routes the Oscillator to the Channel Direct Outputs
and the Retro Summing Bus. As signals sum at the
Retro Summing Bus, levels will increase substantially. It
is strongly recommended to lower the Main Mix Fader
prior to engaging DIR in order to avoid excessive levels
feeding the monitor system.
CR SEL - Routes the currently selected Control Room
Source to the SLS output.
The Level control operates between -20dBu and +10dBu.
To more finely calibrate the Oscillator output level, select
CAL. The trim screw adjacent to the level control will now
adjust the output level, and the Main Output VUs in the
Master Section Meterbridge will meter 0dB, displaying the
trim screw changes. Select CAL again to exit calibration
mode.
PFL - Routes the PFL Solo Bus to the SLS output.
EXT - Feeds the External SLS Input (available on the rear
panel of the Master Section) to the SLS output via the
level control.
Note: Talkback can also be sent to the SLS outputs by
selecting SLS in the Talkback section.
21
GRP4
0
GRP5
0
GRP6
0
GRP7
0
0
0
0
0
0
GRP3
0
0
0
0
0
GRP2
0
0
0
0
0
GRP1
0
0
0
0
Group Send/Returns
GRP8
The DAW button may act as a Group Insert enable if
you have connected Group Out/Ins Send and DAW/Ins
Return to and from outboard gear or a patch bay.
The output of the eight Groups are available at the Local
Mix Bus (which feeds both Retro and Modern Mix Outs),
Group Out/Ins Send (pre-fader), and the Stem Outputs
(post-fader).
0
GROUP SEND TRIMS
L PAN R
L PAN R
L PAN R
L PAN R
L PAN R
L PAN R
L PAN R
L PAN R
DAW
DAW
DAW
DAW
DAW
DAW
DAW
DAW
SOLO
ISO
SOLO
ISO
SOLO
ISO
SOLO
ISO
SOLO
ISO
SOLO
ISO
SOLO
ISO
SOLO
ISO
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
CUT
CUT
CUT
CUT
CUT
CUT
CUT
CUT
1
2
3
4
5
6
7
8
GROUP RETURNS
GROUP SEND TRIMS - These attenuate the summed
signals routed to the Group, pre-fader. Generally these
should be left at 0dB, however can be attenuated to -∞.
Practical application may be backing off the level at the
Group Out/Ins Send, ie, the input to your outboard gear if
using Group Inserts.
PAN - Allows the mono Group signal to be panned across
the Retro and Modern Mix Outs.
DAW - Switches the Group input to the DAW/Ins Return
signal. Depending on how you have connected the
console, this will either:
»» Switch the input of the Group Faders to
connected DAW outputs and override any
currently assigned Channels to that Group, or
»» Activate the Group Insert Return of which
the send is Group Out/Ins Send.
ISO - Solo Isolates the Group, resulting in the Group not
being Cut when another Channel or Group is Soloed.
This is very useful when routing multiple Channels to
a Group, then soloing individual Channels within that
Group.
SOLO - Depending on which Solo Mode is selected in the
Control Room Section, the Channel output will be:
1
2
3
5
4
GROUP RETURNS
6
7
»» Fed to either the AFL or PFL Solo Bus
8
»» Soloed while all other Channels are Cut (SIP)
»» Fed to the AFL Bus along with the Main
Mix which is padded 10dB (SIF)
CUT - Cuts the Group signal (post Stem Out, pre Local
Mix Bus).
There are eight mono Group Sends and Returns on the
Series 75 Console. All buttons are recallable.
The eight Groups have each been built as a hybrid
Retro/Modern assembly. A Retro Output Stage appears
before the DAW/Insert Return, after which the circuitry is
transformerless.
»» NOTE: When 7.1 is selected in the Control Room
Section, the 7.1 Input feeds the ALT 2 Speaker
Outputs (see Connections). When this is active,
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
always active and allow subgroups within the mix to
be easily recorded back into the DAW (stems). A Retro
Output Stage at the Group Output effect any grouped
Channels, hence Channel signals at the Stem Outputs
will be sonically coloured.
»» Individual Channels, which can be routed
using the Assign Section (Retro).
»» Or your DAW, by selecting DAW
directly above the fader (Modern).
22
Reverb Returns
HP 2
L BAL R
L BAL R
L BAL R
L BAL R
HP 1
HP 1
HP 1
HP 1
MON
MIX
MAIN
MIX
MON
MIX
MAIN
MIX
MON
MIX
MAIN
MIX
AUX 1
AUX 2
AUX A
MON
MIX
AUX 1
AUX 2
AUX A
MON
MIX
CR
MON
AUX 3
AUX B
MAIN
MIX
CR
MON
AUX 3
AUX B
MAIN
MIX
10
0
0
10
0
0
10
0
0
10
0
0
HP 2
MON
MIX
MAIN
MIX
10
L BAL R
HEADPHONE SEND 1
SOLO
ISO
SOLO
SOLO
ISO
SOLO
REV RET 1
SOLO
ISO
SOLO
REV RET 2
REV RET 4
Aux 1, 2, 3, A & B - Selects the signal at the respective
Auxiliary Master, as the Headphone Output source.
CR Mon - Selects the Control Room as the Headphone
Output source.
Solo Isolate - When selected, the Reverb Return will not
be cut when a Channel, Group, or another Reverb Return
is soloed. Practical application may be monitoring an
effect when its dry signal is soloed.
Main Mix - Selects the Main Mix, post-fader, as the
Headphone Output source.
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.
MAIN MIX - Routes the Reverb Return to the Main Mix
Out.
MON MIX - Routes the Reverb Return to the Monitor Mix
Out.
AUX2
AUX3
0
AUX A
L BAL R
0
0
0
0
0
0
0
0
0
0
0
0
Auxiliary Master
Section
0
0
L BAL R
The Headphone Sends section allows any of the Auxiliary
Sends to be selected as the source for the headphones.
Multiple sources may be selected simultaneously. All
buttons are recallable.
The Series 75 features four stereo Reverb Returns.
Envisioned input is the output of external devices that
were fed by the consoles Auxiliary Sends. The Reverb
Returns can feed Headphone Outputs 1 & 2, the Main
Mix, and the Monitor Mix. Multiple destinations can be
selected at once.
AUX1
10
HEADPHONE SEND 2
SOLO
ISO
SOLO
REV RET 3
0
0
HP 2
0
0
HP 2
Headphone Sends
AUX B
L BAL R
AUX SEND TRIMS
The Auxiliary Master Section contains the overall
attenuation controls for the three mono and two stereo
(or a possible seven mono) Auxiliary Sends. Talkback is
available on all Auxiliary Sends.
Auxiliary Masters A & B are stereo sends. These pass
through a balance control before feeding Headphone
Outputs, the Control Room, and/or Auxiliary Outputs
on the rear panel of the Master Section. Envisioned as
headphone sends during recording, they could be used
for other purposes such as stereo effects sends, or 4
mono sends - in which case the pan pot will become a
secondary level control. Auxiliary Masters 1, 2 & 3 are
mono, and can also feed the above destinations.
23
Channel Meters/
Master Meters
GRP - Meter the Group Outputs: 1, 2, 3, 4, 5, 6, 7, 8.
AUX/PFL - Meter the Auxiliary Master levels and the PFL
Outputs: A1, A2, A3, AL, Ar, bL, br, PF.
REV RET - Meter the four stereo Reverb Returns: 1L, 1r,
2L, 2r, 3L, 3r, 4L, 4r.
CHANNEL METERS
CH
ST
MON
DIR
FADERS
AUX
PFL
MON
REV
RET
VU
PEAK
VU Meters - The two VU Meters in the Master Section
Meterbridge display the level at the Retro/Modern Mix
Outputs.
-6dB
Console/Channel
Modes
MASTER METERS
Eight Bargraph Meters are situated above each Channel
Bin. Another eight multi-function Bargraphs, and the
two Main Output VU Meters are situated in the Master
Section Meterbridge.
CONSOLE MODES (HOLD)
A further eight VU Meters, which meter the Group
Outputs, can be located in the Meterbridges adjacent to
the Master Section.
The signals that are currently being metered are
indicated by one of the five LEDs situated in the centre of
the bargraphs. Further, two seven segment LEDs directly
below each bargraph indicate which signal each is
metering. See the Master Metering and Channel Metering
sections for details.
MON
INPUT
PAN
FADER
SWAP
MON
MAIN
MIX
INS
RETRO
Depending on the application at hand, say for example
recording as opposed to mixdown, the Console Modes
section will change the global state of the console to
reflect the most appropriate setup.
The top row of buttons consist of Channel Meter buttons,
directly below are the Master Meter buttons. These
control all Bargraph and VU meters. All buttons are
recallable.
The top row consists of Console Modes buttons, directly
below are the Channel Modes buttons.
Channel Meter Controls
To prevent the console from being accidentally reset
mid-session, the following functions must be held for
1 second.
The following metering options effect all Channel Meters.
This section details the two global functions, Channel
Input (CH INPUT) and Monitor Input (MON INPUT).
CH - Meter Channel Path inputs.
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
function and, for reasons about to be revealed, allow you
to re-think your decision before committing.
DIR - Meter Direct Outputs.
If FADERS is selected, the Bargraph Meters will display
the level of the faders.
The following operations will effect all modules.
CHAN INPUT - Cycles through the four Channel path
input options (Mic, DI, DAW and Line).
VU / PEAK toggles between VU metering or Peak
Program Metering. In PPM mode, the top 4 LEDs are
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
button is cycled to select 'DAW' when the DAW is armed,
a feedback loop will exist. Take a moment to think
about the result of different Channel and Console Mode
combinations.
The following metering options effect the Master Section
Meters.
ST - Meter (in this order) Main Outputs, Monitor Outputs,
Control Room Outputs and AFL Outputs. Labeling under
the Meters will read: L, r, .L, .r, CL, Cr, AL, Ar.
CH
INPUT
24
PAN - Activates the Pan control on all Channels.
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.
Keep in mind that the above functions can also be
changed on a per Channel basis in the Channel/Monitor
Modules section.
This setup is highly flexible, with a little thought, almost
anything is possible.
FDR SWAP - Globally swaps the Channel Path Faders
with the Monitor Path Rotaries. This may be useful for
users who prefer to record with Monitor Path Rotaries
controlling the 'to tape' levels, and faders controlling the
'from tape' levels.
Note: This function swaps the level controls only. Solos,
Cuts, Select, Line and Retro buttons on each module
remain unchanged. Also, Fader Swap can be engaged on
individual modules by depressing the HPF Selector in the
Input section of each module.
MON → MAIN - Routes the signal that is present at the
Monitor Mix Fader to the Main Mix Outputs, via the Main
Mix Fader. This may be useful for bouncing rough mixes
whilst recording. It may also be useful when recording a
mix back to the DAW - including effects that have been
returned to the Monitor path.
MIX INS - Activates the patchable Insert over the Main
Mix. Note: The send is always active.
25
Control Room
Source section in combination with ALT2 routes the 7.1
Input to the ALT2 Speaker Outputs.
The high fidelity Control Room monitoring circuitry allows
for sonically transparent monitoring of up to 12 sources.
Located in the bottom right hand corner of the Master
Section, it hosts the Main Monitor Volume Control, source
selection for the Control Room Monitors, global Solo
Modes, and Talkback controls.
LCUT & RCUT - These cut the left and right channels
of the currently selected Speaker Outputs. If monitoring
surround using ALT2, just the L & R speakers will be cut.
Other features include a Control Room Headphone
Output and an input labeled iMON - This is an 1/8” TRS
input designed for monitoring of external equipment, such
as MP3 players, through the Control Room Speakers.
Further, if LCUT and MONO are selected, the right
channel of the Monitor Source will be routed to the
selected left AND right Speaker Outputs. If RCUT and
MONO are selected, the opposite occurs.
CRM
HP
PFL
Hp1
Hp2
2T1
2T2
7.1
iMON
AUX 3
AUX A
SUM
RETRO
OP
MODERN
OP
MON
MIX
AUX 1
AUX 2
MONO - Feeds a mono sum of the selected Monitor
Source to the Speaker Outputs.
Further still, if MONO and SWAP are selected,
the left and right channels of the selected Monitor
Source are subtracted, and only the difference is
heard.
AUX B
HP + PFL
iMON
When used in conjunction, LCUT, RCUT and MONO
could be useful for calibrating speakers, checking
for mono mix compatibility, focusing on signals
present only in one channel of the selected Monitor
Source, and the list goes on…
MONITOR SOURCE
0
111/2
CUT - Cuts the selected Speaker Outputs.
-30 DIM
MAIN
ALT1
ALT2
SURROUND
LCUT
MONO
0
TALK
AFL PFL SIP SIF
SOLO
SOLO
MODE
RCUT
LISTEN
MIC
SWAP - Reverses the selected L & R Speaker
Outputs.
TALKBACK
AUX
HP1
LISTEN
RED
LIGHT
SLS
STATUS
LOCK
DIM - Dims the Speaker Outputs by a level set by
the Dim Control. The DIM button will be activated
automatically when the following buttons in the
Talkback section are activated: AUX, CUE, HP1 and
HP2.
SOURCE IN MONO
CUT
CAL
SWAP
DIM
SOLO
CLEAR
LINK
CUE
HP2
Monitor Source
Control Room Volume
and Controls
The Monitor Source section of the Series 75 Control
Room panel is a 12 input analogue summing mixer, using
high fidelity modern assembly methods for transparency.
Up to 12 sources may be selected and monitored at
once.
By far, the most exhaustive amount of effort of all of the
Series 75 features has gone into the design of the Control
Room Volume circuitry.
2T1 - Routes 2 Track 1 to the selected Speaker Outputs
via the Main Volume control.
Up to three pairs of monitors can be connected to the
Series 75 (see Connections for details).
2T2 - Routes 2 Track 2 to the selected Speaker Outputs
via the Main Volume control.
MAIN - Routes the selected Monitor Source to the Main
Spk outputs.
7.1 - Routes the 7.1 input to the selected Speaker
Outputs via the Main Volume control. The ALT2 Speaker
Outputs are 7.1 capable.
ALT1 - Routes the selected Monitor Source to the Alt Spk
1 outputs.
ALT2 - Routes the selected Monitor Source to the Alt Spk
2 outputs.
NOTE: Selecting 7.1 also alters the Group Cuts and
Solos, which will now affect the ALT2 Speaker Outputs.
This allows the additional ability to cut or solo individual
speakers when monitoring in surround sound.
NOTE: ALT2 can be used as a third pair of stereo
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
via the Main Volume control.
Outputs. The AFL bus is stereo, and soloing
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
Monitor Source will revert to the last selected source.
»» PFL - A Pre-Fader Listen signal will be
sent from the soloed Channel or Monitor
path to the PFL bus and on to the Speaker
Outputs. The PFL bus is mono, and soloing
is non-destructive. The PFL Level Control is
directly above the Control Room Volume.
RETRO OP - Routes the Main Mix (post Master Fader)
through the main Retro Mix stage (LO1166) to the Main
Output & the Control Room section.
»» SIP - A Solo button will simply cut all other
signals which have neither their solo isolate
mode activated, or been soloed themselves.
Soloing is destructive (Channel Direct
Outputs and Mix Outputs are Cut).
MDRN OP - Routes the Main Mix (post Master Fader)
through the main Modern Mix stage (transformerless) to
the Main Output & the Control Room section.
MON MIX - Routes the Monitor Mix to the Main Output &
the Control Room section.
»» SIF - An After Fader Listen signal will be sent
from the selected Channel or Monitor path to
the AFL bus and on to the Speaker Outputs.
The Main Mix is padded 10dB and added to
the AFL bus. Soloing is non-destructive.
AUX 1, AUX 2, AUX 3 and AUX A, AUX B buttons route
the respective send to the selected Speaker Outputs via
the Master Aux control and the Main Volume control.
Control Room
Headphones
LINK - Links the Channel path and Monitor path Solos.
When selected, soloing any signal (Channel or Monitor
Path) will result in all other un-soloed channels being
cut. If unselected, Channel path and Monitor path Solos
operate independently.
The Control Room Headphone Output (HP) is located
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 Control Room Headphones.
The built-in TALKBACK microphone is accessed here.
Talkback can be fed to the Auxiliary Sends, Cues, two
Headphone Outputs, and Studio Loudspeakers. When
Talkback is activated, DIM is automatically engaged.
HP1 - Routes Headphone Output 1 to the Control Room
Headphones.
»» AUX - Feeds Talkback to Auxiliary
Outputs 1, 2, 3, A and B.
HP2 - Routes Headphone Output 2 to the Control Room
Headphones.
»» HP1 & HP2 - Feeds Talkback to
Headphone Send 1 or 2 via the
respective Headphone Send Level.
PFL - Feeds the PFL bus to the Control Room
Headphones.
Solo
»» CUE - Routes Talkback to both Headphone
Sends 1 & 2 via their level controls.
The following buttons effect soloing globally. There
are four global Solo Modes available on the Series 75
console. After-Fader Listen, Pre-Fader Listen, Solo In
Place, and Solo In Front. LEDs in the Solo Modes section
light to display which of the four modes are active at any
one time. All buttons other than Solo Clear are recallable.
»» SLS - Routes Talkback to the Studio
Loudspeakers via the SLS Level Control.
The LISTEN MIC is an extra input designed for a
dedicated studio to control room communication
microphone (dynamic only). The rotary control labeled
LISTEN MIC sets the level of this input. The button
labeled LISTEN, situated directly below, sends the signal
to the Speaker Outputs cutting the currently selected
Monitor Source.
SOLO CLEAR - Clears all active Solos on the console.
SOLO MODE - Cycles through the four Solo Modes.
After-Fader Listen (AFL), Pre-Fader Listen (PFL), Solo In
Place (SIP), and Solo In Front (SIF).
»» AFL - A Solo button will send an After Fader
Listen signal from the soloed Channel or Monitor
path to the AFL bus and on to the Speaker
STATUS LOCK - Locks out the CONSOLE MODE
buttons, CHANNEL MODE buttons (other than PAN),
OSC to GRPS/MAIN MIX, and the SIP SOLO MODE.
27
This prevents any destructive functions from effecting the
Main Mix Output or Channel Direct Outputs.
RED LIGHT - Completes the isolated voltage circuit
required to activate a red light if connected. Red Light
also engages Status Lock to prevent the Main Mix Output
or Channel Direct Outputs from being affected.
Faders
MAIN MIX
MONITOR MIX
The stereo MAIN MIX Fader is fed by the Channel paths,
and controls the level feeding the two stereo Mix Outs via
their respective Retro and Modern Output Stages.
The two linkable and externally patchable mono 2254
Compressors lie pre-fader, and an Insert point lies prefader, post-compressor.
The stereo MONITOR MIX Fader is fed by the Monitor
paths, and controls the level feeding the (Modern)
Monitor Mix Outputs. When MON → MAIN is selected in
the Console Modes section, the output of the Monitor Mix
Fader joins the signal on the Main Mix Fader, and on to
the Retro and Modern Mix Outputs.
28
Modifications
7. If all three jumpers are placed on the
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
back into the Channel Bin Motherboard.
Insert Points on each 2081 Module default post-EQ. A
quick jumper change on the Channel PCB will move it
pre-EQ.
9. Replace both hex screws before powering up.
Modification 2 Installing Additional
Modules
Additional Modules can be purchased and installed if
there is still room in your console chassis.
Before completing either of the following modifications
make sure the power supply and interfaces are switched
off, and have been off for at least 1 minute.
Modification 1 - Insert
Point Post/Pre EQ
1. Double check the power supply is off.
2. Remove the hex screws situated at the top
and bottom of the blank Channel Bin panels.
1. Double check the power supply is off.
3. Remove the panels.
2. Remove the hex screws situated at the
top and bottom of the 2081 Module.
4. Place the Module(s) carefully and firmly
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
the Aux A/B Pan Control and the Monitor
Path Pan Control. Carefully remove
the Module from the Channel Bin.
5. Fit both hex screws before powering up.
6. Make sure the correct size blank panels
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
the current motherboard version if necessary.
5. Three jumpers indicated J601, J602
and J603 need to be moved.
6. If all three jumpers are placed on the
two pins closest to the front panel of the
Module, the Insert will fall post-EQ.
29
File:
Size: A3
30
Line
DAW
DI
Mic
Line
DAW
+48v
BA283
Line Amp
PAD
PAD
Number: N2081
Title: 2081 Module Block Diagrams
Revision: A
ø
I/P Tfmr
10468
PAD
17-41db
Mic Stage 1 Pre
+/- 10db
Trim
+18db
Mic Stage 2 Pre
HPF
Monitor Post
Monitor Pre
Channel Post
Channel Pre
ALTERNATE
INSERT
POSITION
(PCB
Jumper)
AUX
TREB
MF 2
1
2
3
AL
AR
BL
BR
BASS
Modern Mix Busses
MF 1
1081 EQ
Ins Ins
Rtn Snd
Monitor Level
Fader Swap
Fader
Osc
BA283
Line Amp
I/P Tfmr
10468
Monitor Post to Aux
Channel Post to Aux
Cut
Bus Sw
R
L
R
L
Bus Sw
PFL
+
-
+
-
+
-
+
-
Bus Switching
Monitor Pre to Meter
Panpot
Panpot
Bus Switching
even
odd
To Meter
Panpot
Channel Pre to Meter
PFL
Modern AFL, L,R
Modern L, R
Modern AFL, L,R
Modern L, R
Direct Out
To Bussing (retro)
Block Diagrams
Channel & Input Block Diagram
File:
Size: A3
Group Mix Bus (balanced)
Group Mix Bus 1
BA283
I/P Tfmr
Bus Trim
Bus Amp
Revision: A
10468
Number: Group Amps
Title: Channel Module Block Diagrams
Osc Relay
Osc & Talkback
Internal Trim
BA283
Bus Amp
Buffer
DAW Play Buffer
Group Out (balanced)
Insert Send
O/P Tfmr
LO1166
DAW Playback
Insert Return
DAW Bus Relay
To Meter
Fader
CW
Stem Output
Fader Buffer
Panpot
Balance Bus Drive
Balance Bus Drive
Balance Bus Drive
Balance Bus Drive
Balance Bus Drive
31
To AFL
To AFL
To MIX
To MIX
To PFL
AFL R
AFL L
Mix Busses
Group Amps
PFL
Local Mix R
Local Mix L
File:
Monitor Mix
Right
BA283
Bus Amp
BA283
I/P Tfmr
10468
I/P Tfmr
Current Mix Busses
Right
Current Mix Busses
From Rev Return 4-8
From Rev Return 1-4
BA283
Bus Amp
BA283
Bus Amp
BA283
Bus Amp
BA283
Bus Amp
Bus Amp
10468
Revision: A
Voltage Mix Busses
Number: Stereo
Left
Left Mon
32
Right Mon
Size: A3
Left
Title: Master Section Block Diagrams
Mon Fader
CW
Mon Fader
CW
Local Mix R
Local Mix L
Local Mix Busses
2254 In
Local Mix Buffer Bal Out
2254 In
Local Mix Buffer Bal Out
2254
2254
2254 Out
2254 Out
R
L
Insert
Insert
R
L
Insert In
Insert In
Bal Buffer
Bal Buffer
Fader
CW
Fader
CW
BA283
Line Amp
O/P Tfmr
LO1166
O/P Tfmr
LO1166
Bal Buffer
To Meter & CR Mon & HP
Bal Buffer
Bal Buffer
To Meter & HP
BA283
Bal Buffer
To Meter & HP
Line Amp
Osc to Mix
Osc
Osc to Mix
Osc
Monitor Mix Out R
Monitor Mix Out L
Modern O/P R
Retro O/P R
Modern O/P L
Retro O/P L
To CR Mon
Stereo Mix & Outputs
File:
Size: A3
Number: CR Monitor
Revision: A
Monitor Sources
Title: Master Section Block Diagrams
33
Pre & Limiter
PCB Right
Listen
Mix
Mix
Mon Mix
2Trk2
2Trk1
Aux B
Aux A
Aux 3
Aux 2
Aux 3
I-Mon
Listen Level
CW
Bal In
Bal In
Bal In
Bal In
Unbal In
Unbal In
Listen mic overrides all other sources
Listen Mic
Mix Modern R
Mix Modern L
Mix Retro R
Mix Retro L
Mon Mix R
Mon Mix L
2 TRACK 2 R
2 TRACK 2 L
2 TRACK 1 R
2 TRACK 1 L
Aux B Post Fade R
Aux B Post Fade L
Aux A Post Fade R
Aux A Post Fade L
Aux 3 Post Fade R
Aux 3 Post Fade L
Aux 2 Post Fade R
Aux 2 Post Fade L
Aux 1 Post Fade R
Aux 1 Post Fade L
MiniJack In R
MiniJack In L
CW
CW
Surround Input
Surround Input
Surround Input
Surround Input
Surround Input
Surround Input
Surround Input
Surround Input
Mix Amp
CR Sel R
Mix Amp
CR Sel L
AFL R
AFL Level
AFL Level
AFL L
Mix Amp
Mix Amp
CW
To SLS
To SLS
CW
AFL
AFL
CW
CW
CW
Level
CW
Level
Mono
Dim
Main Volume Control
DC Control
CW
Level DC Control
CW
Dim
CW
CW
L-R Swap
CW
PCB Right
CW
Main Volume Control
PCB Right
Buffer
Buffer
Buffer
Buffer
Buffer
Buffer
Buffer
Buffer
Buffer
Buffer
Buffer
Buffer
PCB Right
Alt 2 RC
Alt 2 LC
Alt 2 RS
Alt 2 LS
Alt 2 LFE
Alt 2 C
Alt 2 R
Alt 2 L
Alt R
Alt L
Main R
Main L
CR Monitor
Cut Switches
File:
Aux 1 (2,3,4 Identical
Current Mix Busses
Level
CW
Talkback
Bal In Unbal Out
Bus Amp
Revision: A
Talkback
Bal In Unbal Out
Bus Amp
Number: Aux HP Rets
Aux A (Aux B Identical
Size: A3
Buffer
Level
CW
To CR Mon
Balance
To CR Mon
To CR Mon
Bal Buffer
Bal Buffer
Bal Buffer
Bal Buffer
Bal Buffer
Bal Buffer
Aux A R Out
Aux A L Out
Aux 1 Out
34
Rev 2 Left
Rev 3 Left
Rev 4 Left
Aux 2
Aux 3
Aux B Left
St Mix Left
Mon Mix Left
CR Mix Left
Rev 2 Left
Rev 3 Left
Rev 4 Left
Aux 2
Aux 3
Aux B Left
St Mix Left
Mon Mix Left
CR Mix Left
Rev 2 Left
Rev 3 Left
Rev 4 Left
Aux 2
Aux 3
Aux B Left
St Mix Left
Mon Mix Left
CR Mix Left
Rev 2 Left
Rev 3 Left
Rev 4 Left
Aux 2
Aux 3
Aux B Left
St Mix Left
Mon Mix Left
CR Mix Left
Right
Rev Ret 1
Left
Talkback
Mix Amp
Talkback
Mix Amp
Talkback
Mix Amp
Talkback
Mix Amp
Bal In Buffer
Bal In Buffer
CW
CW
CW
CW
Level
CW
Level
CW
Reverb Return 1 (2,3,4 Identical)
Balance
CW
Balance
CW
Balance
CW
Balance
CW
Balance
CW
Balance
CW
HP Amp
HP Amp
HP Amp
HP Amp
Buffer
Buffer
HP2 Bal Output
HP2 Bal Output
HP1 Bal Output
HP1 Bal Output
To HP2
To HP1
To Mix B
To Mix A
Headphone 1
Headphone 2
Rear Connections
Title: Channel Module Block Diagrams
L
Bal Buffer
R
Bal Buffer
L
R
To Mon Mix Bus
To Local Stereo Mix Bus
AUX Headphone & Stereo Returns
Balanced Outputs
File:
Size: A3
Revision: A
35
SLS Ext In R
CR Mon Pre Fade R
PFL to SLS
SLS Ext In L
CR Mon Pre Fade L
PFL to SLS
Number: Other Stuff
Voltage Mix Busses AFL L
Current Mix Busses AFL L
Title: Channel Module Block Diagrams
BA283
I/P Tfmr
Ext
Ext
Talkback
Internal Trim
Buffer
Line Amp
Talkback
Talkback
On
On
CW
Level
CW
Level
Studio Loudspeaker (SLS)
BA283
Bus Amp
Bus Amp
10468
To CR Mon
Bal Out
Bal Out
AFL Amps (Left shown, Right Identical)
SLS Left
SLS Left
Pink
Noise
Sine
Osc
Mic
Talkback
Pre & Limiter
Level
CW
Cal Trim
To Groups
To SLS
To Aux
To HP2
To HP1
HP2 L&R
HP1 L&R
Groups
Direct Outs
SLS
Aux 1-3,A,B
To Channels
To Slate
Talkback
HP Level
CW
Cal
To Mix
PCB Left
Oscillator
Talkback
Talkback
Talkback
Osc & TB
Osc & TB
Osc to Group
Osc to Direct Outs
Osc to Mix
Osc & TB
Osc & TB
Oscillator
Ancillary
d
c
a
e
b
Dimensions
»» a: 45cm b: 99cm c: 30.7cm d: 70.5cm e: 12cm
32 Channel Frame
»» Width: 167cm (65.75 in)
»» Depth: 99cm (38.98 in)
»» Height (without stand): 45cm (17.72 in)
24 Channel Frame
»» Width: 135cm (53.15 in)
»» Depth: 99cm (38.98 in)
»» Height (without stand): 45cm (17.72 in)
16 Channel Frame
»» Width: 102cm (40.16 in)
»» Depth: 99cm (38.98 in)
»» Height (without stand): 45cm (17.72 in)
36
Recall Sheets
The following pages contain printable Recall sheets for the Custom Series 75.
37
Session:
Date:
800mS
1.5S
400mS
AUTO
CAL
60
100
1K
10K
16K
40
EXT
MAIN
MIX
DIR
SLS
SLS 10
4:1
1.5:1
6:1
0
AUX1
AUX2
0
AUX3
0
0
AUX A
L BAL R
0
0
0
3:1
2:1
AUTO
0
0
800mS
200mS
100mS
+16
OSC
LEVEL 10
PFL
COMP RECOVERY
0
0
+12
+8
COMP IN
20
GAIN MAKE UP
0
0
0
COMP THRESHOLD
0
0
+10
-20
GRPS
PINK
0
0
10
0
-10
0
0
Notes:
AUX B
L BAL R
AUX SEND TRIMS
FAST ATTACK
10
0
800mS
HP 2
+12
+16
+8
+4
3:1
2:1
AUTO
+20
LIMIT ON
4
2254
LEFT
COMP RATIO
5
HP 1
10
MON
MIX
MAIN
MIX
SOLO
ISO
SOLO
REV RET 1
FAST ATTACK
3
HP 1
MAIN
MIX
FADER
SWAP
MON
MIX
MAIN
MIX
SOLO
ISO
SOLO
REV RET 2
PEAK
LED

SIG
LED
6
7
8

0
GRP5
0
GRP6
0
GRP7
0
0
0
GRP4
0
0
0
SOLO
SOLO
ISO
REV RET 4
AUX A
MON
MIX
AUX 1
AUX 2
AUX A
MON
MIX
CR
MON
AUX 3
AUX B
MAIN
MIX
CR
MON
AUX 3
AUX B
MAIN
MIX
L BAL R
10
CH
MON
ST
MON
L BAL R
10
HEADPHONE SEND 2
CONSOLE MODES (HOLD)
DIR
FADERS
VU
PEAK
CH
INPUT
AUX
PFL
REV
RET
-6dB
FADER
SWAP
MASTER METERS
>>
0
0
GRP3
0
0
0
0
0
GRP2
0
0
0
0
0
0
0
SOLO
ISO
MON
MIX
AUX 2
MON
INPUT
PAN
MON
MAIN
MIX
INS
RETRO
GRP8
CHANNEL MODES (HOLD)
CRM
HP
PFL
Hp1
Hp2
2T1
2T2
7.1
iMON
AUX 3
AUX A
SUM
RETRO
OP
MODERN
OP
MON
MIX
AUX 1
AUX 2
AUX B
HP + PFL
iMON
GRP1
MAIN
MIX
ESC
<<
AUTO
MON
MIX
REV RET 3
CHANNEL METERS
RCL
STORE
10
AUX 1
GRP
VIEW
PAN
HP 1
10
HEADPHONE SEND 1
0
L BAL R
6:1
LIMIT RECOVERY
2
HP 1
SOLO
4:1
1.5:1
LIMIT LEVEL
1
COMP RECOVERY
800mS
200mS
100mS
L BAL R
MAIN
MIX
COMP IN
20
GAIN MAKE UP
HP 2
L BAL R
10
0
0
0
COMP THRESHOLD
HP 2
L BAL R
AUTO
+10
-20
HP 2
1.5S
400mS
0
0
-10
2254
RIGHT
COMP RATIO
0
0
LIMIT RECOVERY
0
0
LIMIT ON
0
0
+20
LIMIT LEVEL
0
0
+4
0
GROUP SEND TRIMS
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
DAW
DAW
DAW
DAW
DAW
DAW
DAW
DAW
SOLO
ISO
SOLO
ISO
SOLO
ISO
SOLO
ISO
SOLO
ISO
SOLO
ISO
SOLO
ISO
SOLO
ISO
MAIN
ALT1
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
SOLO
LCUT
MONO
0
111/2
-30 DIM
ALT2
SURROUND
0
TALK
AFL PFL SIP SIF
SOLO
RCUT
LISTEN
MIC
TALKBACK
SOLO
MODE
AUX
HP1
LISTEN
RED
LIGHT
LINK
CUE
HP2
SLS
STATUS
LOCK
SOURCE IN MONO
CUT
CUT
CUT
CUT
CUT
CUT
CUT
CUT
1
2
3
4
5
6
7
8
1
2
3
5
4
GROUP RETURNS
6
7
8
GROUP RETURNS
38
CUT
CAL
SWAP
DIM
SOLO
CLEAR
MAIN MIX
MONITOR MIX
Session:
Date:
Notes:
0
0
O
-10 TRIM 10
0
60
66
54
0
54
300
15
-
10
PAN
OFF
1.5
3.9
OFF
1.2k
3.3
L
560
33
300
25
PAN
AUX B
R
L
PAN
R
L
PAN
AUX3
AUX3
AUX 2
AUX 2
AUX 2
AUX 2
AUX 2
AUX 2
AUX 2
AUX 2
AUX 1
AUX 1
AUX 1
AUX 1
AUX 1
AUX 1
AUX 1
AUX 1
OFF
+
GAIN
15
-
10
OFF
+
GAIN
15
+
GAIN
OFF
8.2
+
GAIN
GAIN
1.5
4.7
3.3
-
1.8
6.8
3.9
OFF
1.2k
3.3
HI Q
-
+
GAIN
HI Q
330
33
-
GAIN
4.7
3.9
OFF
1.2k
3.3
33
I
S
O
MON 10
I
S
O
PAN
HI Q
3.9
OFF
1.2k
GAIN
SWAP
CUT
-
1.8
3.3
HI Q
-
220
270
33
HI Q
-
GAIN
1.5
MON 10
4.7
3.9
OFF
1.2k
CUT
-
1.8
3.3
HI Q
-
220
270
HI Q
33
I
S
O
-
56
SEL
4.7
3.9
OFF
1.2k
MON 10
SWAP
CUT
-
1.8
3.3
HI Q
-
220
270
I
S
O
33
HI Q
-
GAIN
1.5
MON 10
4.7
3.9
OFF
1.2k
CUT
-
1.8
3.3
HI Q
-
220
270
33
I
S
O
-
4.7
3.9
OFF
1.2k
MON 10
CUT
+
1.8
-
GAIN
+
HI Q
3.3
2.7
-
220
270
560
OFF
+
I
S
O
HI Q
33
-
56
+
EQ
INS
LINE
L
SEL
MON 10
I
S
O
PAN
R
SEL
SIG
SWAP
CUT
MON 10
SIG
RETRO
SOLO
GAIN
100
180
330
R
L PAN R
+
GAIN
390
470
LINE
PAN
RETRO
SWAP
GAIN
330
EQ
SIG
SOLO
GAIN
INS
L
SEL
-
2.2
820
680
56
1.5
100
R
L PAN R
OFF
8.2
1k
390
470
OFF
+
+
GAIN
HI Q
LINE
PAN
10
4.7
6.8
5.6
330
560
+
GAIN
2.7
1k
EQ
RETRO
SWAP
3.3
180
330
INS
L
15
R
6.8
2.2
820
680
56
OFF
+
GAIN
4.7
100
SIG
SOLO
OFF
8.2
180
330
SEL
L PAN R
+
GAIN
390
470
OFF
+
-
10
6.8
5.6
330
560
+
GAIN
2.7
1k
R
RETRO
RETRO
L PAN R
SOLO
SWAP
CUT
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
39
1.5
3.3
LINE
PAN
15
6.8
2.2
EQ
SIG
SOLO
GAIN
INS
L
OFF
+
GAIN
4.7
100
R
L PAN R
OFF
8.2
820
680
LINE
PAN
+
GAIN
390
470
OFF
+
-
10
6.8
5.6
330
560
+
GAIN
2.7
1k
EQ
RETRO
SWAP
3.3
180
330
INS
L
15
6.8
2.2
820
680
56
OFF
+
GAIN
4.7
100
SIG
SOLO
OFF
8.2
180
330
SEL
L PAN R
+
GAIN
390
470
OFF
+
-
10
6.8
5.6
330
560
+
GAIN
2.7
1k
R
RETRO
SOLO
4.7
820
680
-
1.5
3.3
2.2
EQ
SIG
15
6.8
LINE
L
SEL
L PAN R
+
GAIN
INS
R
RETRO
CUT
-
LINE
PAN
OFF
8.2
5.6
56
OFF
+
GAIN
4.7
6.8
390
470
OFF
+
EQ
SIG
SWAP
HI Q
330
560
+
GAIN
2.7
220
270
-
10
100
0
0
MON 10
-
180
330
INS
L
SEL
3.3
1.8
100
R
15
6.8
2.2
820
680
56
1.5
1k
390
470
OFF
+
OFF
8.2
5.6
220
270
OFF
+
GAIN
4.7
6.8
2.7
1k
560
+
GAIN
2.2
4.7
-
10
6.8
180
330
0
0
300
AUX3
LINE
SOLO
L
INPUT
150
50
AUX B
R
+48V
AUX3
EQ
L PAN R
PAN
60
66
100
150
25
0
MIC DI MON
100
300
-10 TRIM 10
42
54
MIC/DI GAIN
INPUT
MIC DI MON
36
48
6
AUX3
INS
I
S
O
L
54
50
AUX B
R
60
66
30
24
AUX3
100
PAN
PAN
INPUT
150
25
0
18
12
+48V
MIC/DI GAIN
100
300
-10 TRIM 10
42
48
6
MIC DI MON
36
AUX3
180
330
L
L
54
50
AUX B
R
60
66
30
24
AUX3
HI Q
-
PAN
INPUT
150
25
0
18
12
+48V
MIC/DI GAIN
100
300
48
6
MIC DI MON
-10 TRIM 10
42
AUX A
820
680
56
L
54
50
36
AUX A
390
470
OFF
INPUT
150
AUX B
R
60
66
30
24
AUX A
330
820
680
0
18
12
+48V
MIC/DI GAIN
100
25
48
6
MIC DI MON
-10 TRIM 10
42
AUX A
HI Q
-
54
50
36
AUX A
5.6
220
270
PAN
60
66
30
24
AUX A
2.7
1k
INPUT
300
6.8
-
0
18
12
+48V
MIC/DI GAIN
150
25
-10 TRIM 10
42
48
6
MIC DI MON
50
36
AUX A
2.2
4.7
54
100
R
3.3
1.8
60
66
30
24
AUX A
4.7
6.8
5.6
0
18
12
+48V
AUX B
6.8
3.3
-10 TRIM 10
42
48
AUX B
L
8.2
INPUT
300
25
AUX B
36
MIC/DI GAIN
150
50
30
24
6
100
150
OFF
60
66
18
12
+48V
MIC DI MON
100
25
-10 TRIM 10
42
MIC/DI GAIN
INPUT
MIC DI MON
50
36
48
6
MIC/DI GAIN
30
24
O
0
0
6
18
12
+48V
0
O
0
0
48
0
O
0
0
42
0
O
0
0
36
0
O
0
0
30
24
12
0
O
0
0
18
0
O
Wiring Diagrams
XLR Connectors
1
3
2
Shield Cold (-) Hot (+)
Shield Cold (-) Hot (+)
Hot (+) Cold (-) Shield
1/4” TRS & TS
Sleeve Ring
Tip
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.
Broadcast Users Note: Pin 13 of the DB25 is CHASSIS,
whilst other ‘earth’ or ‘ground’ pins (25, 11, 22, 8, 19, 5,
16, 2) are connected to “0 Volts”. Pin 13 can be used to
connect to outer shield of cables with double shielding.
Inside the console these 2 circuits are connected together
at one place. Separately wiring the outer shield will
reduce susceptibility to radio interference.
40
Master Section Rear
Panel
Surround Spk (Alt2)
Naturally, the following labels are just a guide. Labels
have not been added to the console, maintaining
consistency between the 7.1 input wiring and
the Surround Spk (Alt2) output wiring is the main
consideration.
As mentioned previously, the following labels are just
a guide. Labels have not been added to the console,
maintaining consistency between the 7.1 input wiring
and the Surround Spk (Alt2) output wiring is the main
consideration.
Connection
Cable #
Pin #
Connection
Cable #
LFE +
8
1
LFE +
8
14
LFE -
14
LFE -
2
0V
2
0VS
15
Rs +
15
Rs +
3
Rs -
3
Rs -
16
0V
16
0VS
4
Ls +
4
Ls +
17
Ls -
17
Ls -
5
0V
5
0VS
18
R+
18
R+
6
R-
6
R-
19
0V
19
0VS
7
Rc +
7
Rc +
20
Rc -
20
Rc -
8
0V
8
0VS
21
C+
21
C+
9
C-
9
C-
22
0V
22
0VS
10
Lc +
10
Lc +
23
Lc -
23
Lc -
11
0V
11
0VS
24
L+
24
L+
12
L-
12
L-
25
0V
25
0VS
13
Chassis
13
Chassis
7
8
7
6
6
5
5
3
4
4
3
2
1
14
2
15
3
16
4
17
5
18
6
19
7
20
8
21
9
22
10
23
11
24
12
25
13
Pin #
1
2
1
1
2
3
4
5
6
7
8
7.1 Inputs
1
41
1
14
2
15
3
16
4
17
5
18
6
19
7
20
8
21
9
22
10
23
11
24
12
25
13
7
6
5
4
3
2
1
Connection
Cable #
Pin #
Connection
Cable #
1
Ret+4R
8
1
Osc+
8
14
Ret-4R
14
Osc-
2
0VR
15
Ret+4L
2
0V
3
Ret-4L
15
AUX Out BR+
16
0VR
3
AUX Out BR-
4
Ret+3R
16
0V
17
Ret-3R
4
AUX Out BL+
5
0VR
17
AUX Out BL-
18
Ret+3L
5
0V
6
Ret-3L
18
AUX Out AR+
19
0VR
6
AUX Out AR-
7
Ret+2R
19
0V
20
Ret-2R
7
AUX Out AL+
8
0VR
20
AUX Out AL-
21
Ret+2L
8
0V
9
Ret-2L
21
AUX Out 3+
22
0VR
9
AUX Out 3-
10
Ret+1R
22
0V
23
Ret-1R
10
AUX Out 2+
11
0VR
23
AUX Out 2-
24
Ret+1L
11
0V
12
Ret-1L
24
AUX Out 1+
25
0VR
12
AUX Out 1-
13
Chassis
25
0V
13
Chassis
7
8
7
6
6
5
5
3
4
4
3
2
1
14
2
15
3
16
4
17
5
18
6
19
7
20
8
21
9
22
10
23
11
24
12
25
13
Pin #
2
1
1
2
3
4
5
6
7
8
Reverb (Stereo) Returns Aux Sends
1
Connection
Cable #
1
Mon Mix Out R+
8
14
Mon Mix Out R-
2
0V
15
Mon Mix Out L+
3
Mon Mix Out L-
16
0V
4
6
17
5
0V
18
5
8
6
0V
21
Alt Spk1 L+
9
Alt Spk1 L-
22
0V
10
Main Spk R+
23
Main Spk R-
11
0V
24
Main Spk L+
12
Main Spk L-
25
0V
13
Chassis
7
8
4
6
Alt Spk1 R3
5
Alt Spk1 R+
20
2
4
7
3
0V
1
2
19
6
5
4
3
2
1
The Studio Red Light is to be connected to Channel 5,
taking into consideration that this circuit is not suitable for
mains power and should be run at 1 Amp 24 Volts.
7
1
8
7
6
5
4
3
2
1
Pin #
7
SLS, Red Light, TB,
Listen
Speakers
1
14
2
15
3
16
4
17
5
18
6
19
7
20
8
21
9
22
10
23
11
24
12
25
13
1
14
2
15
3
16
4
17
5
18
6
19
7
20
8
21
9
22
10
23
11
24
12
25
13
42
1
14
2
15
3
16
4
17
5
18
6
19
7
20
8
21
9
22
10
23
11
24
12
25
13
Pin #
Connection
Cable #
1
PFL Out+
8
14
PFL Out-
2
0V
15
Listen Mic+
3
Listen Mic-
16
0V
4
Talkback Sw1
17
Talkback Sw2
5
0V
18
Red Light1
6
Red Light2
19
0V
7
Ext to SLS R+
20
Ext to SLS R-
8
0V
21
Ext to SLS L+
9
Ext to SLS L-
22
0V
10
SLS R+
23
SLS R-
11
0V
24
SLS L+
12
SLS L-
25
0V
13
Chassis
7
6
5
4
3
2
1
Headphones
Mix Outs & 2254
Connection
Cable #
7
Pin #
1
8
Note: Unbalanced outputs are able to drive up to 10
headphones without the need for an external headphone
amp, the balanced outputs will need to be connected to a
headphone amp.
8
1
2
3
HP2 L
16
0VHP
4
HP1 R
17
HP1 L
5
0VHP
18
6
3
7
5
HP2 R
6
4
0V
15
3
2
5
6
2
1
14
2
15
3
16
4
17
5
18
6
19
7
20
8
21
9
22
10
23
11
24
12
25
13
19
0V
7
HP2 R+
20
HP2 R-
8
0V
21
HP2 L+
9
HP2 L-
22
0V
10
HP1 R+
23
HP1 R-
11
0V
24
HP1 L+
12
HP1 L-
25
0V
13
Chassis
4
1
4
5
6
7
8
14
3
2
3
2Trk2 L-
16
0V
4
2Trk1 R+
17
2Trk1 R-
5
0V
18
2Trk1 L+
6
2Trk1 L-
19
0V
7
Ins Ret R+
20
Ins Ret R-
8
0V
21
Ins Ret L+
9
Ins Ret L-
22
0V
10
Ins Send R+
23
Ins Send R-
11
0V
24
Ins Send L+
12
Ins Send L-
25
0V
13
Chassis
7
6
2Trk2 L+
6
5
15
4
0V
5
3
2
4
2
2Trk2 R+
2Trk2 R-
8
8
1
14
7
Cable #
1
8
7
6
5
4
3
2
1
1
14
2
15
3
16
4
17
5
18
6
19
7
20
8
21
9
22
10
23
11
24
12
25
13
Connection
Connection
Cable #
1
2254 In R+
8
14
2254 In R-
2
0V
15
2254 In L+
3
2254 In L-
16
0V
4
2254 Out R+
17
2254 Out R-
5
0V
18
2254 Out L+
6
2254 Out L-
19
0V
7
Retro R+
20
Retro R-
8
0V
21
Retro L+
9
Retro L-
22
0V
10
Modern R+
23
Modern R-
11
0V
24
Modern L+
12
Modern L-
25
0V
13
Chassis
7
6
5
4
3
2
1
Group Outputs/Insert
Sends
1
Mix Insert, 2 Trk 1,2
Pin #
1
14
2
15
3
16
4
17
5
18
6
19
7
20
8
21
9
22
10
23
11
24
12
25
13
Pin #
3
2
1
43
1
14
2
15
3
16
4
17
5
18
6
19
7
20
8
21
9
22
10
23
11
24
12
25
13
Pin #
Connection
Cable #
1
Grp +8
8
14
Grp -8
2
0V
15
Grp +7
3
Grp -7
16
0V
4
Grp +6
17
Grp -6
5
0V
18
Grp +5
6
Grp -5
19
0V
7
Grp +4
20
Grp -4
8
0V
21
Grp +3
9
Grp -3
22
0V
10
Grp +2
23
Grp -2
11
0V
24
Grp +1
12
Grp -1
25
0V
13
Chassis
7
6
5
4
3
2
1
1
2
3
4
5
6
7
8
Stem Outputs
1
14
2
15
3
16
4
17
5
18
6
19
7
20
8
21
9
22
10
23
11
24
12
25
13
Pin #
Connection
Cable #
1
Stem +8
8
14
Stem -8
2
0V
15
Stem +7
3
Stem -7
16
0V
4
Stem +6
17
Stem -6
5
0V
18
Stem +5
6
Stem -5
19
0V
7
Stem +4
20
Stem -4
8
0V
21
Stem +3
9
Stem -3
22
0V
10
Stem +2
23
Stem -2
11
0V
24
Stem +1
12
Stem -1
25
0V
13
Chassis
7
6
5
4
3
2
1
1
2
3
4
5
6
7
8
DAW/Ins Return
1
14
2
15
3
16
4
17
5
18
6
19
7
20
8
21
9
22
10
23
11
24
12
25
13
Pin #
Connection
Cable #
1
DAW +8
8
14
DAW -8
2
0V
15
DAW +7
3
DAW -7
16
0V
4
DAW +6
17
DAW -6
5
0V
18
DAW +5
6
DAW -5
19
0V
7
DAW +4
20
DAW -4
8
0V
21
DAW +3
9
DAW -3
22
0V
10
DAW +2
23
DAW -2
11
0V
24
DAW +1
12
DAW -1
25
0V
13
Chassis
7
6
5
4
3
2
1
44
Channel Bin Rear Panel
Pin #
Connection
Cable #
Pin #
Connection
Cable #
1
Snd +8
8
1
DAW +8
8
14
Snd -8
14
DAW -8
2
0V
2
0V
15
Snd +7
3
Snd -7
16
0V
4
Snd +6
17
Snd -6
5
0V
18
Snd +5
6
Snd -5
19
0V
7
Snd +4
20
Snd -4
8
0V
21
Snd +3
9
Snd -3
22
0V
10
Snd +2
23
Snd -2
11
0V
24
Snd +1
12
Snd -1
25
0V
13
Chassis
7
8
7
6
6
4
5
5
3
4
3
2
1
14
2
15
3
16
4
17
5
18
6
19
7
20
8
21
9
22
10
23
11
24
12
25
13
2
15
DAW +7
3
DAW -7
16
0V
4
DAW +6
17
DAW -6
5
0V
18
DAW +5
6
DAW -5
19
0V
7
DAW +4
20
DAW -4
8
0V
21
DAW +3
9
DAW -3
22
0V
10
DAW +2
23
DAW -2
11
0V
24
DAW +1
12
DAW -1
25
0V
13
Chassis
7
6
5
4
3
2
1
Line Inputs
Pin #
Connection
Cable #
Pin #
Connection
Cable #
1
Ret +8
8
1
Line +8
8
14
Ret -8
14
Line -8
2
0V
2
0V
15
Ret +7
3
Ret -7
16
0V
4
Ret +6
17
Ret -6
5
0V
18
Ret +5
6
Ret -5
19
0V
7
Ret +4
20
Ret -4
8
0V
21
Ret +3
9
Ret -3
22
0V
10
Ret +2
23
Ret -2
11
0V
24
Ret +1
12
Ret -1
25
0V
13
Chassis
7
8
7
6
6
4
5
5
3
4
2
3
1
8
7
6
5
4
3
2
1
1
14
2
15
3
16
4
17
5
18
6
19
7
20
8
21
9
22
10
23
11
24
12
25
13
1
Channel Insert Returns
1
14
2
15
3
16
4
17
5
18
6
19
7
20
8
21
9
22
10
23
11
24
12
25
13
DAW Inputs
1
1
2
3
4
5
6
7
8
Channel Insert Sends
2
1
45
1
14
2
15
3
16
4
17
5
18
6
19
7
20
8
21
9
22
10
23
11
24
12
25
13
15
Line +7
3
Line -7
16
0V
4
Line +6
17
Line -6
5
0V
18
Line +5
6
Line -5
19
0V
7
Line +4
20
Line -4
8
0V
21
Line +3
9
Line -3
22
0V
10
Line +2
23
Line -2
11
0V
24
Line +1
12
Line -1
25
0V
13
Chassis
7
6
5
4
3
2
1
1
2
3
4
5
6
7
8
Direct Outputs
1
14
2
15
3
16
4
17
5
18
6
19
7
20
8
21
9
22
10
23
11
24
12
25
13
Pin #
Connection
Cable #
1
DIR +8
8
14
DIR -8
2
0V
15
DIR +7
3
DIR -7
16
0V
4
DIR +6
17
DIR -6
5
0V
18
DIR +5
6
DIR -5
19
0V
7
DIR +4
20
DIR -4
8
0V
21
DIR +3
9
DIR -3
22
0V
10
DIR +2
23
DIR -2
11
0V
24
DIR +1
12
DIR -1
25
0V
13
Chassis
7
6
5
4
3
2
1
46
Glossary
Retro Output Stage
Amplifying Stages
The Classic Output Stage which was made famous by
the Neve 1073, 1272 and 2254 could be described using
words such as warm, defined and flattering. The only
way to truly know is to listen. Circuitry wise, the sound
is largely due to the BA283 output amplifier and L01166
output transformer. These two components, when used
together, have a significant sonic effect.
Each EQ band contains an amplifying stage. The mic pre
contains two, as does the HPF. The original Neve BA338
amplifying stages have been tweaked to improve their
drive ability and stability versus temperature, resulting in
reduced distortion and approximately 9dB more dynamic
range. As a further improvement to the original designs,
each section of the 2081 channel module has its own
power supply filtering.
Care has been taken to recreate the renowned Classic
Output Stage for the Series 75 Console. The BA283X
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)
are WIMA polypropylene film or Rubycon ZLH electrolytic
chosen for long life and superior sonic performance. All
relays, switches and connectors in the audio signal path
have gold plated contacts.
Front on, the Channel Bins of the Custom Series 75 are
almost indiscernible. However each group of eight 2081
channel modules are housed in an aluminum casing
known as a 'bin'. Beneath this are the individual Channel
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
Current Summing
A Stem is a sub-mix output. In music mixing, stems are
more often stereo mixes of just the drums, guitars, or
vocals etc. These can then be subsequently re-mixed
together for a complete stereo mix. The Series 75 Stem
Outputs are post-fader, and may be used to record just
the sub-grouped signals.
Current Summing is a modern solution to the
'deficiencies' of Voltage Summing. No matter how many
signals you feed to the mix bus of a Current Summing
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
via a feedback resistor, resulting in 0V at the op-amp
input. A more sophisticated variant of this circuit is used
to achieve balanced virtual earth mixing as used in
this console. Due to the virtual earth, this design does
not require an input or output transformer. A Current
Summing Mix Bus does not colour the audio.
Voltage Summing
In the 1970s Voltage Summing was the only way to
sum multiple signals onto a bus. Put simply, the signal
level on the mix bus drops as more signals are fed to
it, typically to around -30dbu. Further, the mix bus must
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
transformer and amplifying stage – the “mix amp”. This
input transformer will subtly colour the signal. Once
the signal passes through the mix amp it hits an output
transformer. The output transformer is where much of the
sonic colour comes from. In effect, a Voltage Summing
Mix Bus colours the audio in a way that is pleasing to our
ear.
Modern Output Stage
The Modern Output Stage of the Custom Series 75 has
been designed for sonic transparency and excellent
technical specification. It's a transformer-less balanced
floating output, that can drive balanced or unbalanced
professional grade studio equipment. All op amps are
LM4562 by National Semiconductor, generally regarded
as the best sounding opamp available.
All capacitors in the audio signal path (Modern & Retro)
are WIMA polypropylene film or Rubycon ZLH electrolytic
chosen for long life and superior sonic performance. All
relays, switches and connectors in the audio signal path
have gold plated contacts.
47
Credits
Tom Misner – Owner/Designer/Marketing
Bruce McBean - Design Team Leader
Stephen Crane - Mechanical Design
Grzegorz Rozek - Software Design
Rod Harris - Design Engineer
Murray Irvine - Design Engineer
Attila Acs – Website, Graphics & Photos
Dirk Terrill - Documentation
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