Neve 8816 User manual

User Manual
527-361
Issue 2
Neve 8816 16:2 Summing Mixer
©
2005 AMS Neve Ltd own the copyright of all information and
drawings contained in this manual which are not to be copied
or reproduced by any means or disclosed in part or whole to
any third party without written permission.
As part of our policy of continual product improvement, we
reserve the right to alter specifications without notice but with
due regard to all current legislation.
Disclaimer: The information in this manual has been carefully
checked and is believed to be accurate at the time o
f
publication. However, no responsibility is taken by us fo
r
inaccuracies, errors or omissions nor any liability assumed fo
r
any loss or damage resulting either directly or indirectly from
use of the information contained within it.
Trademarks: All trademarks are the property of their respective
owners and are hereby acknowledged.
HEAD OFFICE
AMS NEVE LTD • BILLINGTON ROAD • BURNLEY
LANCS BB11 5UB • ENGLAND
TELEPHONE [phone] • FAX [phone]
LONDON OFFICE
TELEPHONE [phone] • FAX [phone]
NORTH AMERICAN OFFICES
AMS NEVE INC, NEW YORK
TEL [phone] • FAX [phone]
AMS NEVE INC, HOLLYWOOD
TEL [phone] • FAX [phone]
e-mail: [e-mail]
www.ams-neve.com

1
CONTENTS________________________
1INTRODUCTION..................................................................................................................................... 1
28816 APPLICATION SCENARIOS........................................................................................................ 2
3SUB MIXER .............................................................................................................................................. 9
4CONTROLS ............................................................................................................................................ 10
5MON LEVEL .......................................................................................................................................... 16
6RECALL.................................................................................................................................................. 21
7REAR PANEL CONNECTORS AND CONTROLS........................................................................... 28
8DIMENSIONS......................................................................................................................................... 30
9RACK MOUNTING AND COOLING ................................................................................................. 30
10 POWER REQUIREMENTS.................................................................................................................. 30
11 SYSTEM SETTINGS ............................................................................................................................. 31
12 SPECIFICATIONS................................................................................................................................. 33
13 CONNECTORS ...................................................................................................................................... 34
14 BLOCK DIAGRAM ............................................................................................................................... 36
15 RECALL SOFTWARE INSTALLATION........................................................................................... 37
16 OPTIONAL ADC INSTALLATION INSTRUCTIONS ..................................................................... 40
17 TECHNICAL SUPPORT....................................................................................................................... 41

Page 1
1 Introduction
The 8816 is an extremely versatile 16:2 summing mixer, which can produce the
highest possible recording and mixing performances in any format using revered
Neve analogue designs including transformer mixing.
With comprehensive input, mixing and monitoring functions, 8816 can upgrade a
DAW to a professional mixing facility. But that’s not all, not only does the unit provide
quite unbelievable analogue facilities but also has remix and Recall as standard.
In addition to the superb facilities offered as standard on the 8816 there are two
options, digital outputs and a fader pack.
ADC Output. World class A to Ds with sampling rates of up to 192kHz and DSD
outputs. Analogue insert points are provided ahead of the ADCs that couple the
ultimate analogue circuitry with superior digital conversion making the unit an obvious
choice for complete integration with a DAW.
NOTE: Requires Internal fitting, please consult your Neve dealer
Fader Pack. 16 Input Faders with cut solo controls and post fade direct outputs plus
2 Master Faders give the engineer fine level control with a traditional feel. With the
fader unit attached, the rotary channel level controls become aux send levels
increasing the functionality of the unit.

Page 2
2 Application Scenarios
The 8816 can be used to monitor from the workstation while recording directly from a
mic pre such as the 1073DPD or as a pre-mixer for recording a number of signals
simultaneously to the workstation. With the optional fader pack, direct outs can be
used from the 8816 to the DAW enabling it to be used like a conventional desk with
both recording and monitoring signals passing through the unit.
Direct recording with 8816 as monitor: Connect the output of the mic pre to the
input of the workstation. Connect the outputs of the workstation to the inputs of the
8816. The 8816 outputs can be monitored on loudspeakers or headphones as
required. The performers headphones source can be switched (engineer/performer).
Sub-mixing signals to be recorded: Connect the instruments to be recorded to the
inputs of the 8816 (via a 1073 or similar mic pre if required). Connect the main output
of the 8816 to the inputs of the workstation (this can be analogue or digital if the
optional digital card is fitted). Set the balance required using the channel level
controls on the 8816 and record onto the workstation.

Page 3
Recording with optional Fader Pack: Connect the instruments to be recorded to
channel inputs on the 8816 and connect the direct outputs from these channels to the
inputs of the DAW (the direct outs are located on the fader pack). These channels
can be muted so that they do not go to the main bus if monitoring via the 8816 or a
monitor mix can be set up on the DAW and monitored via the 2 Track Return on the
8816. Signals can now be recorded with fader control over their level while the mix or
play back is monitored through the 8816.
In all of the above recording situations the engineer can utilise the 8816 to control
monitoring via two pairs of speakers and/or the headphones as required. The 8816
can also be used to provide a Cue to performer headphones.

Page 4
Connect the outputs of the workstation to the inputs of the 8816. If you have a
backing track pre-mix on your workstation assign this to outputs connected to inputs
15/16 on the 8816. Connect the output of the track being recorded to any of inputs 1-
14 on the 8816. Connect the performer’s headphones to the headphone socket on
the rear of the 8816. The cue mix level of the overdub against the backing track can
be adjusted using the Cue Level Control until the mix is right for the performer. The
2-Track Return can also be routed to the Cue so may be used as an FX return if the
performer wishes to listen to a guide reverb while recording. The engineer can
monitor on headphones connected to the front of the 8816 and can switch between
monitoring the performer’s cue mix and the main mix.

Page 5
Connect the outputs of the workstation to the inputs of the 8816. Key elements such
as lead vocals and lead instruments should be kept separate within the workstation
and connected to individual inputs on the 8816. Other elements such as backing
vocals, FX, etc can be routed to stereo groups within the workstation and these
groups connected to the 8816 inputs.
Optimum sound quality within the workstation is generally achieved by setting the
virtual faders to 0dB. Final mix levels can be set on the 8816.
The mix is now being created on the mix bus of the 8816. This uses the same
transformer mix topology as the classic 80 series Neve consoles and recreates their
legendary sound. Recording back to the DAW or onto another devce such as a CDR
may be analogue or, if the digital option is fitted, can be from the Neve Analogue to
Digital Convertors ensuring the best possible sound quality.
A compressor such as the Neve 33609 or an EQ such as the Neve 1081 can be
patched across the Insert Point allowing the whole mix to be compressed or EQ’d.
Sometimes it is necessary to mix between a clean mix and a processed mix, for
example when using a Filter Bank to create a special effect across the whole mix for
one section of a song. This can be done by patching the filter bank across the Inserts
of the 8816 and switching to Insert Mix mode. The balance between the clean mix
and the processed mix is now controlled by the insert Mix level control and the
engineer can switch between clean and processed mix or balance the two as
required.

Page 6
The engineer and producer can monitor on two sets of speakers, main and near field,
and switch between them using the Alt Speaker switch allowing comparisons of the
mix on small and large speakers. Headphones can also be connected if required.
The outputs of the recording unit (or the appropriate two tracks of the DAW) can be
connected to the two track return so that the engineer can switch between monitoring
the mix leaving the 8816 and the mix coming back from the recorder.

Page 7
Connect the outputs of your DAT, CD player or two tracks of your DAW to inputs 1
and 2 on the 8816. Connect the master outputs of the 8816 to the inputs of the
Workstation, CDR or DAT that you wish to record onto. Connect the outputs of the
recording device to the 2 track return of the 8816.
The mix is now passing through the mix bus of the 8816. This uses the same
transformer mix topology as the classic 80 series Neve consoles and recreates their
legendary sound.
A compressor such as the Neve 33609 or an EQ such as the Neve 1081 can be
patched across the Insert Point allowing the whole mix to be compressed or EQ’d.
The Insert can be switched to Sum and Difference mode allowing the producer to
process the centre sum/mono signal and the stereo/difference signal in different
manners. The width control can be used to reduce the stereo width, perhaps for a
club remix, or to enhance it beyond standard stereo if the original mix is not wide
enough.
The engineer and producer can monitor on two sets of speakers, main and near field,
and switch between them using the Alt Speaker switch allowing comparisons of the
mastered mix on small and large speakers. Headphones can also be connected if
required.
The monitor source select can be used to switch between monitoring the sound
entering the 8816 on inputs 1 and 2, the sound leaving the 8816 on the mix bus and
the sound as recorded on the CDR/DAT/Workstation via the 2 Track Return.

Page 8
It is often desirable to make a stereo recording of the performance as a band are
playing a live gig. Frequently the sound used on the main Front Of House console is
of a high standard but the mix created for the venue does not have the correct
balance for the recording. The 8816 can solve this problem.
The main mix outputs of the 8816 should be connected to a recording device such as
a DAT or DAW running on a laptop Mac or PC. The output of the recording device
should be connected to the 2 Track Return on the 8816.
Key elements such as the lead vocal can be connected directly to an input on the
8816 from a Direct Out on the FOH console. Other elements such as drums,
keyboards, etc can be connected to the inputs of the 8816 either from the Group
Outputs or from the Matrix Outputs of the FOH console depending on the type of
FOH console being used.
A correct balance between the individual and pre-mixed sounds can be set up on the
8816 using the Channel Level controls. The mix is now passing through the mix bus
of the 8816, this uses the same transformer mix topology as the classic 80 series
Neve consoles and recreates their legendary sound.
The engineer can monitor the live recording on headphones and switch between
monitoring the output of the 8816 and the 2 Track return from the recorder for a
confidence check on the recorded sound.

Page 9
3 Sub Mixer
Sometime the console being used for a mix simply does not have enough inputs.
This may be because it is a small digital mixer being used to meet a fixed budget or it
may be because the console is a classic such as an old 80 series Neve which is
used for its legendary sound quality but has a limited number of inputs. The 8816 can
be used to solve this dilemma and achieve high quality results.
Connect the outputs of the additional instruments or sound sources such as
keyboards, FX units, etc to the inputs of the 8816. Connect the main outputs of the
8816 to a pair of inputs on the main mixer.
The sounds passing through the 8816 can be balanced using the Channel Level
controls. These sounds are now passing through the mix bus of the 8816, this uses
the same transformer mix topology as the classic 80 series Neve consoles and
recreates their legendary sound.
The overall level being passed to the main mixer can be set using the Master Level
control of the 8816.
Should more than 16 inputs be required on the sub-mixer then two 8816 units can be
used. The output from the first 8816 is connected to the 2 Track Bus Input of the
second 8816 and the output from the second 8816 goes to the main mixer.

Page 10
4 Controls
Channel Strip
The channel strip comprises a cut/solo button, a rotary level control, a
rotary pan control and a cue select button.
Level Control
The Level Control has a range of ∞dB to +15dB with 0dB set at "12
O’Clock". This range is deliberately chosen to be able to
accommodate most line inputs levels whether they be professional
+4dBu inputs or semi-professional -10dBV inputs. The Level Control
sets the levels going to the main L R Mix Outputs and to the Utility Aux
Bus with the extra benefit of changing its function into an individual aux
bus send level when an optional fader panel is fitted.
Pan Control
This is a classic -3dB centre pan, with S Law shaping to help accurate
panning to extremes of left and right.
Cue Control Button
When operated this takes the input of the channel (pre level and pan) and sends it to
the cue mixer via the cue level control to feed the cue output to headphones.
Channels 1-14 are individually switchable to the cue via the cue level control.
Channels 15 and 16 are linked as a stereo cue direct to the Cue Mix. For
overdubbing, channels 15-16 can be set up as your backing track mix on the DAW,
and then selecting the appropriate channel from 1 to 14 will allow you to blend or ride
a track using the cue level control, allowing the artist to hear exactly what he or she
needs to hear before dropping in to record.
Channel Cut /Solo button
The function of the Channel button can be changed from Cut to Solo by operating the
Solo Master adjacent to channel 16.
In Cut mode this button will mute the feed to the main two track bus. Cut is indicated
by the button turning red.

Page 11
In Solo mode, selecting the button will cut all channels except the one operated,
commonly referred to as Solo In Place. Solo is indicated by the button turning
yellow. As the solo system is latching, it is possible to build up solo groups and to
then use the cut / solo master to audition a solo group or a cut group, this is very
useful for comping or sorting out EQ / balance problems in the mix quickly before
printing the final pass.
Cue Section
2T to Cue
Sends the 2 track return, post
level control, to the headphone
mix - perfect for replaying the
last over dub pass to the artist
for auditioning or a complete
two track mix of the whole song
without the artist needing to
come into the control room.
Headphone Mon
Selects the prefade LS Outputs
onto the cue headphone
outputs so the artist hears the
same sources as the engineer
feeds to the monitors
Headphone Control
This control adjusts the main headphone levels and has a range between ∞and 0dB.
The headphone control also incorporates a switch, when pushed the unit's talk back
mic is fed to the headphone output, automatically dimming the music feed to the
headphones and loudspeakers. There is also a parallel 1/4 inch jack on the rear of
the unit to allow for footswitch operation.

Page 12
Headphone Jack
A headphone jack is provided on the front of the unit for the engineer and a second
parallel headphone jack on the rear of the unit for the performer. Parallel +4dBu line
outputs are provided on the rear of the unit to be used for cue feeds to the studio.
NOTE: Only headphones with impedances above 60 Ohms should be used in this
application.

Page 13
Master Section
Alt Spk
Selects a second set of
loudspeakers for
switching between main
and near field loud
speakers.
iMon
This input has a 3.5mm
Jack socket for
connecting your ipod to
the unit’s LS selector and feeding to the LS outputs or cue headphone outputs.
Talkback Level (adjustment screw)
This adjusts the level from the talkback mic to the cue headphones. This would be
performed when setting up the unit, Talkback will then be at a set level during the
session.
Talkback Microphone
A talkback microphone is built into the unit to allow the engineer or producer to
communicate with the artist during recording sessions.
INS MIX (Insert Mix)
This routes the IMR signal to the main two track mix output pre the output level
control but post the insert.
IMR (Insert Mix Return) Level Control
This allows for the IMR signals to be mixed directly into the main mix output post the
insert but pre the mix output level control. It has a range of ∞dB to +10dB and is
perfect for DJ style mixing or where the engineer wants to mix some compressed or
EQ’d main mix source back into the main mix outputs without the compression or EQ
dominating the mix as it would using the insert.

Page 14
INS (Inserts)
This switches the main mix pre fade insert in and out of circuit via the input and
output connectors on the rear of the unit. It has two modes selectable by pressing the
mix level control. When a normal pre fade insert is selected the button will illuminate
yellow. If the mix level control is pressed then the illumination will change to red
indicating that the insert point has changed to a sum and difference insert.
In sum and difference mode the standard stereo signal is converted into a mono
common or sum signal on the left output and a mono difference signal on the right
output. This enables the engineer to apply different processes to the common (or
centre) image and the difference (or stereo) image. At the insert return the signal is
re-converted to a standard stereo signal. The technique is frequently used in
mastering recordings and is really handy for such things as:
Using an overall stereo EQ where the L & R Image will not shift with any tracking
errors within the EQ unit, or EQ the mono to subtlety change the mix balance post
mixing.
Compress and limit the sum and difference separately to negate tracking errors or
create a quite different stereo image.
Add a sub bass synth to the mono program for really deep mono bass that will not
make the cutter head jump if mastering to vinyl.
Listen to the mono and trim the DAW sample delays to get perfect L & R tracking and
save the results to an interleaved wav file.
A vocal could be brightened by EQing the Sum signal or Cymbals could be
brightened by EQing the Difference signal.
N.B. The underlying mode of the insert can be changed by pressing the mix level
control even if the insertion button is not selected.
2TR MIX (2 Track Mix)
When selected sends the 2 track return signal directly to the 2 track mix bus.
2TR Level Control
This adjusts the two track return level sent to the Cue Mix or 2 track mix bus and has
a range of ∞dB to +10dB. This is useful for sending 2 track mixes to the cue
headphones or as a reverb return to the cues or 2 track mix bus.

Page 15
Monitor Selections
There are 3 leds above the Mon Level Control that indicate what is selected to the LS
monitor. If no led is illuminated then the main monitor defaults to the main mix
output. Selection of the sources to the monitor is by pressing the mon level control.
First press will select 2TR to Mon, second press will select CH1/2 pre fade sources,
third press will select iMon input and the fourth press will return the monitor to the
main mix output. It is also possible to set the main mix source to the monitors post
the ADC insert jack (if fitted), which will allow for monitoring of the main mix signal or
the inserted signal. This could be of benefit when you need to monitor the ADC Input
which could be a completely different source from the 8816 such as when using the
digital option as a separate high quality stereo A to D.
NOTE: The monitor source can be set to pre or post ADC insert using jumpers within
the unit. Information is provided in the section Jumper Settings.

Page 16
5 Mon Level
This alters the loud speaker’s output level and has a range of ∞dB to 0dB.
Sum
This is selected by pressing the width control. When illuminated yellow then the main
mix outputs are summed with whatever is selected to the LS Monitor. This function is
very handy when auditioning mixes together in the main or alt loudspeakers.
Width Control
The Width control is post the mix level control and alters the stereo image from mono
through stereo to enhanced stereo.
<W> (Width Control Switch)
This switches the Width control into circuit across the main mix output (post insert)
and is indicated by the button being illuminated yellow.
Mix Level
This alters the main mix level and has a range of ∞dB to 0dB. It can be used to
control the output level from the unit to the DAW. The control can also be augmented
with fader control if an optional fader pack is fitted. In this case, the mix level control
no longer has any function.
Analogue and Digital overload indication.
Analogue overload of the unit is indicated by a red
led in the associated left or right output meter.
The actual level at which the overload led
illuminates is about 1dB below the max output of
the unit (+26 dBu).
If the ADC option is fitted to the unit then the led
will light yellow if a digital overload occurs for more

Page 17
than 1 sample. This has priority over the analogue overload indication. Sensitivity of
the digital overload indication will be set by the unit’s digital operating level.
Metering
The main left and right meters are sourced directly from the main outputs so signal
problems within the unit or what is connected can be metered correctly. The meter is
a pseudo PPM type with a special scale that ranges from -16 to +26 dBu. This type
of meter and range is ideal for accurate metering of analogue levels when they are
fed to a digital recorder to maximise levels and to avoid digital clipping. Three
important points are identified on the meter to help the user to match levels between
the unit and a DAW.
0 (PPM Scale Point 5) for line-up +4dBu (0vu)
14 (PPM Scale Point 8.5) +18 dBu for typical DAWs set to 14 = 0dBFS, REL +4 dBu.
18 (PPM Scale Point 9.5) +22 dBu for typical DAWs set to 18 = 0dBFS REL +4 dBu.
Power Switch
When operated this switches the unit on and indicates +36 V input healthy by
illuminating red.

Page 18
Options
Fader Pack Option
The optional fader pack provides 16 Input faders with post fade direct outputs plus
mutes and 2 Master faders. The Input faders have a range of ∞dB to +15 dB. The
master faders have a range of ∞dB to 0dB.
With the fader pack fitted, the rotary channel level control of the 8816 becomes an
aux send level control with a range of ∞dB to +15dB. This can be used to send
channels to a reverb or other FX unit.
Recall of the faders and mutes can be stored using USB and the Recall application
so that they can be included into the multi unit Recall system provided on the 88
outboard range.
NOTE: Internal jumper settings must be changed to enable the optional fader pack to
take control of the main mix level. See section on Jumper settings.
When the fader option is not fitted, the jumper sets the Aux output level to –3dBu.
When the fader option is fitted, the jumper sets the Aux output level to 0dBu