Neve Custom Series 75 User manual

For Software Version 3
revision: 2.2
15 May 2013 5:01 PM

Contents
2

Introduction
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.
The development of technology and the digital world
cannot be ignored.
With these two mindsets clear, the Custom Series 75 has
achieved a world rst, the combination of classic circuitry
and modern circuitry in one console.
The classic Neve circuitry has been painstakingly re-
created, keeping faithful to the original whilst taking
advantage of modern assembly methods. The original
circuits have only been changed where justied 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, dened and punchy.
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 exibility of sonic “avour”. 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
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.
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.
Available in a 16, 24, 32, 40, 48, 56 or 64 module
chassis, the Series 75 is exible and able to suit a variety
of studio applications from broadcast to music and even
lm production.
Designed specically 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 lm 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, exible 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.
3

4
This manual is designed for , 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
allowing you to skim through to the exact section on a
page that is relevant.
Extensive use of terminology, of which we feel it
necessary to dene 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!
- 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.
- igital udio Workstation.
- 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).
- 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 xed 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 is a modern
solution to the 'deciencies' 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.
If you don't want to read the complete manual, you can
start with the most important sections below:
»:
http://www.customseries75.com/pdf/
health_safety_installation_connections.pdf
»:
http://www.customseries75.com/pdf/operation.pdf
»:
http://www.customseries75.com/
pdf/master_section.pdf
»:
http://www.customseries75.com/
pdf/2081_module.pdf
This will give you a starting point from which you can
come back and print out sections that you are interested
in.
Yes, the manual can be downloaded at http:www.
customseries75.com/pdf/customseries75_manual.pdf

5
On the rear panels of the Custom Series 75 you will nd 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.
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.
»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.
»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.
»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).
Connections
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.
A patch bay simplies 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.
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.

6
Connectors for the and 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.
The is an external input to the Control
Room monitor section (2T1). Available on both DB25 and
XLR for convenience.
DAW outputs or a device containing up to 8 outputs may
be connected here; the 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.
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.
These inputs feed the four stereo Reverb Returns.
Naturally, the output of outboard effects, a patch bay, or
XLR connectors could be wired here.
Made in Australia
serial no
.
model type
REFER TO MANUAL
BEFORE REMOVING MODULES
PARTS INSIDE
.
NO USER SERVICEABLE
WARNING
DISCONNECT PSU LEAD
Surround Spk (Alt2)
7.1 Input Main Spk
R
R
R
L
L
L
2Trk1 Mon In
Mix Out
Reverb (Stereo) Returns
Speakers
Aux Sends
SLS, Red Light, TB, Listen
Group Out/Ins Send
Stem Out
8Trk Play/Ins Ret
Console Power
Serial
Headphones
Mix Insert, 2Trk 1,2
MIX OUT, 2254
N25549

7
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.
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.
The rst 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.
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.
Post 2254 balanced insert sends and returns appear on
the rst four channels of this connector. 2-Track 1, and
2-Track 2 inputs appear on channels ve through eight.
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.
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 ve through
eight.
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 Stem Outputs carry the eight Group signals post-
fader. Recommended as inputs to your DAW, and useful
for stem mixing.
Extra DAW outputs could be connected here to achieve a
further eight inputs of monitoring. However, if the
connector was used as Insert Sends,
use these as your Group Insert Returns.

8
Inserts
Send
Return
DAW In Line In Direct Out
Mic Inputs
DI Inputs
8 7 6 5 4 3 2 1
On the rear panel of each Channel Bin you will nd eight
balanced (XLR) and eight (1/4").
and are available on DB25
connectors. These feed the input of each 2081 Module.
Mic Inputs are supplied Phantom Power on a per-channel
basis.
Returns
These carry the Insert Sends and Returns from the
Channel path. Connect to a patch bay, or individual XLR
connectors.
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.
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.
Post-fader output from the Channel path. The Direct Out
is always active, connect this to your DAW inputs.

9
The Custom Series 75 is powered by an external Power
Supply, and utilises Soft Start Technology.
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.
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.
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.
A large current is needed to power the console. A circuit
board containing a microchip (known as the
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
will not indicate on the front of the Power Supply,
and instead the will be active.
This indicates that one of the following errors has
occurred:
»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 fuses.
If neither of the above solutions x the problem, have the
Power Supply professionally serviced.

10
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.
Retro
Using a typical signal path for recording, i.e.
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.
The resulting recorded signal will be marginally
‘coloured’.
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 Multi-
Track. 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.
Fader Swap can be engaged globally in the Console
Modes section of the Master Panel.
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.
If you would like to quickly compare the sound of the
Voltage and Current summing busses (see the Glossary
for denitions 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 ow.
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 ashing.
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 ashing.
4. For now, select MODERN OP in the
Monitor Source section so that the main
output stage remains uncoloured.
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.
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.
Mic Input [Ins-pre] 2081 EQ
[Ins-post] Fader Direct Output
Multi-Track

11
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).
On the 2081 module of the Custom Series 75, selecting
RETRO assigns the Channel Output to the Voltage
Summing Mix Bus.
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.
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
routes the Main Mix Fader via an IC to the Modern
Outputs on the Mix Out DB25.
Groups
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.
The exibility 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.
DAW/Line Input [Ins-pre] 2081 EQ
[Ins-post] Fader Voltage Summing
Mix Bus
DAW/Line Input [Ins-pre] 2081 EQ
[Ins-post] Fader Current Summing
Mix Bus

12
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.
The EQ found on the 2081 Channel Module
offers the classic sonic avour 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.
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.
The following looks at the individual
controls of the 2081 Channel Module in
great detail. Descriptions of the console's
signal ow can be found in the Signal Flow
section, and diagrams can be found in the
Block Diagrams section.
At the top of each module, there is a .
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).
In PPM mode, the top 4 LEDs are brighter to indicate
proximity to clipping. In VU mode, the top 8 LEDs are
brighter.
The is indicated by an LED display
directly below the bargraph meters. These will light once
the console has been powered up.
Labels on the left side of the bargraph indicate VU
readings (+4dBu), and the right, PPM (-10dBV).
+48V
INPUT
0
-10 TRIM 10
066 60
54
48
42
36
30
24
18
12
6
25
100
300
50
150
N2081
MIC DI DAW
2
4
6
8
SWAP MIX
FADER MAIN
7
5
3
1
MIC/DI GAIN
O
AUX 2
AUX 3
AUX 1
AUX B
AUX A
L PAN R
EQ
HI Q
INS
HI Q
- +
GAIN
10
4.7
3.3
6.8
15
OFF
- +
GAIN
1.8
2.7
3.3
2.2
1.5
OFF
3.9
4.7
6.8
8.2
5.6
- +
GAIN
- +
GAIN
56
270
180
330
100
33
OFF
390
470
330
220
OFF
560
680
1k
1.2k
820
LINE
RETRO
SEL
SOLO CUT
L PAN R
0
0
MON
I
S
O
10
SIG
L PAN R
PAN
+3+3
+2
+1
CLIP CLIP
+16 +16
+20 +20
+12 +12
+2
+8 +8
+1
+4 +4
00
0 0
-4 -4
-1-1
-8 -8-3-3
-12 -12
-16 -16
-7-7
-20 -20
-10-10 -24 -24
-30 -30
-36 -36
-20-20

13
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.
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).
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).
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.
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.
Each module contains two
stereo (A & B) and three mono
(Aux 1, Aux 2, Aux 3)
. 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.
have
individual level controls.
and
are stereo sends that share
a level control. All Auxiliary's
default position is pre-fader on
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 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.
Two available stereo cue sends allow the exibility of Aux
A being active on one module, whilst Aux B is active on
another.
+48V
INPUT
0
-10 TRIM 10
066 60
54
48
42
36
30
24
18
12
6
25
100
300
50
150
N2081
MIC DI DAW
2
4
6
8
SWAP MIX
FADER MAIN
7
5
3
1
MIC/DI GAIN
O
AUX 2
AUX 3
AUX 1
AUX B
AUX A
L PAN R

14
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.
All buttons are recallable.
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
as opposed to four.
The 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 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.
»HF - 3.3Khz - 15Khz
»HM - 1.5Khz - 8.2Khz
»LM - 220Hz - 1.2Khz
»LF - 33Hz - 330Hz
The 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 Modications).
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 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.
LINE
RETRO
SEL
SOLO CUT
L PAN R
0
0
MON
I
S
O
10
SIG
L PAN R
PAN
EQ
HI Q
INS
HI Q
- +
GAIN
10
4.7
3.3
6.8
15
OFF
- +
GAIN
1.8
2.7
3.3
2.2
1.5
OFF
3.9
4.7
6.8
8.2
5.6
- +
GAIN
- +
GAIN
56
270
180
330
100
33
OFF
390
470
330
220
OFF
560
680
1k
1.2k
820

15
The Channel Path Fader feeds the .
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
(via the Retro or Modern bus) - see the Assign
Section for routing details.

16
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.
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.
VU VU
+3+3
+2
+1
CLIP CLIP
+16 +16
+20 +20
+12 +12
+2
+8 +8
+1
+4 +4
00
0 0
-4 -4
-1-1
-8 -8-3-3
-12 -12
-16 -16
-7-7
-20 -20
-10-10 -24 -24
-30 -30
-36 -36
-20-20
+3+3
+2
+1
CLIP CLIP
+16 +16
+20 +20
+12 +12
+2
+8 +8
+1
+4 +4
00
0 0
-4 -4
-1-1
-8 -8-3-3
-12 -12
-16 -16
-7-7
-20 -20
-10-10 -24 -24
-30 -30
-36 -36
-20-20
+3+3
+2
+1
CLIP CLIP
+16 +16
+20 +20
+12 +12
+2
+8 +8
+1
+4 +4
00
0 0
-4 -4
-1-1
-8 -8-3-3
-12 -12
-16 -16
-7-7
-20 -20
-10-10 -24 -24
-30 -30
-36 -36
-20-20
+3+3
+2
+1
CLIP CLIP
+16 +16
+20 +20
+12 +12
+2
+8 +8
+1
+4 +4
00
0 0
-4 -4
-1-1
-8 -8-3-3
-12 -12
-16 -16
-7-7
-20 -20
-10-10 -24 -24
-30 -30
-36 -36
-20-20
09090
180
-180
MAIN
MIX IN METER
IN
GR
OUT
IN
GR
OUT
LINK
IN
METER
N2069
COMP THRESHOLD GAIN MAKE UP COMP RECOVERY
0
-10
-20
+10
COMP IN
0 20
AUTO
10
400mS
800mS 1.5S
LIMIT LEVEL
LIMIT ON FAST ATTACK
+4
+8
+20
+16
+12
LIMIT RECOVERY
100mS AUTO
200mS 800mS 4:12:1
1.5:1 6:1
3:1
COMP THRESHOLD GAIN MAKE UP COMP RECOVERY
0
-10
-20
+10
COMP IN
0 20
AUTO
10
400mS
800mS 1.5S
LIMIT LEVEL
LIMIT ON FAST ATTACK
+4
+8
+20
+16
+12
LIMIT RECOVERY
100mS AUTO
200mS 800mS 4:12:1
1.5:1 6:1
3:1
COMP RATIO RIGHT
2254
COMP RATIO LEFT
2254
1 2 3 4 5 6 7 8
0MAIN
MIX
FADER
SWAP PAN GRP
VIEW
ESC
PEAK
LED
SIG
LED RCL
STORE
<< >>
AUTO
K
K
GRP1 GRP2 GRP3 GRP4 GRP5 GRP6 GRP7 GRP8
GROUP SEND TRIMS
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
00000000
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
SOLO
ISO
SOLO
CUT
DAW
SOLO
ISO
SOLO
CUT
DAW
SOLO
ISO
SOLO
CUT
DAW
SOLO
ISO
SOLO
CUT
DAW
SOLO
ISO
SOLO
CUT
DAW
SOLO
ISO
SOLO
CUT
DAW
SOLO
ISO
SOLO
CUT
DAW
SOLO
ISO
SOLO
CUT
12345
GROUP RETURNS
678
12345678
GROUP RETURNS
L BAL RL BAL RL BAL R L BAL R
0
0
0
0
0
0
0
0
10 010101
REV RET 4
HP 2
HP 1
MAIN
MIX
SOLO
MON
MIX
SOLO
ISO
HP 2
HP 1
MAIN
MIX
SOLO
MON
MIX
SOLO
ISO
HP 2
HP 1
MAIN
MIX
SOLO
MON
MIX
SOLO
ISO
HP 2
HP 1
MAIN
MIX
SOLO
MON
MIX
SOLO
ISO
REV RET 3
REV RET 2
REV RET 1
HEADPHONE SEND 2
L BAL R L BAL R
0
0
0
0
10 10
HEADPHONE SEND 1
AUX 1
CR
MON
AUX 2
AUX 3
AUX A
AUX B
MON
MIX
MAIN
MIX
AUX 1
CR
MON
AUX 2
AUX 3
AUX A
AUX B
MON
MIX
MAIN
MIX
MASTER METERS CHANNEL MODES (HOLD)
CHANNEL METERS CONSOLE MODES (HOLD)
CH
ST
MON
MON
DIR
AUX
PFL
FADERS
REV
RET
VU
PEAK
-6dB
CH
INPUT
FADER
SWAP
MON
MAIN
PAN
MON
INPUT
MIX
INS
RETRO
iMON HP + PFL
CRM
HP PFL Hp1 Hp2 AUX B
2T1 2T2 7.1 iMON AUX 3 AUX A
SUM RETRO
OP MODERN
OP MON
MIX AUX 1 AUX 2
MONITOR SOURCE
LISTEN
MIC
TALKBACK
TALK
0 11
1/2
DIM
SOLO
AFL PFL SIP SIF
0
-30
CAL
SURROUND
MAIN
LCUT
CUT
ALT2
RCUT
DIM
ALT1
MONO
SWAP SOLO
CLEAR
SOLO
MODE
LINK
HP1
HP2
AUX
CUE
LISTEN
SLS
RED
LIGHT
STATUS
LOCK
SOURCE IN MONO
CAL
OSC
GRPS
MAIN
MIX
PFL
DIR
EXT
SLS
LEVEL SLS
1K
100
60
40
16K
10K
0
0
0
0
10 10
PINK
N3673
3XUA1XUA AUX2 BXUAAXUA
RLABLRLABL
0
0
0
0
0
0
0
0
0
0
00000 0
AUX SEND TRIMS
MAIN MIX MONITOR MIX

17
The Series 75 Master Section features a comprehensive
meterbridge. Eight 42 segment 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 is tapped into the physical left and right
outputs of the console. The two display the
level of the Main Mix Bus.
The signals that are currently being metered are
indicated by one of the ve 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.
- Bargraphs are displaying the four stereo Reverb
Returns - 1L, 1r, 2L, 2r, 3L, 3r, 4L, 4r
- Bargraphs are displaying Main Mix Outputs,
Monitor Mix Outputs, Control Room Outputs and AFL
Outputs - L, r, .L, .r, CL, Cr, AL, Ar
- Bargraphs are displaying the Auxiliary Sends and
the PFL Solo Bus level - A1, A2, A3, AL, Ar, bL, br, PF
- Bargraphs are displaying the Group levels (pre-
fader) - 1, 2, 3, 4, 5, 6, 7, 8
VU VU
+3+3
+2
+1
CLIP CLIP
+16 +16
+20 +20
+12 +12
+2
+8 +8
+1
+4 +4
00
0 0
-4 -4
-1-1
-8 -8-3-3
-12 -12
-16 -16
-7-7
-20 -20
-10-10 -24 -24
-30 -30
-36 -36
-20-20
+3+3
+2
+1
CLIP CLIP
+16 +16
+20 +20
+12 +12
+2
+8 +8
+1
+4 +4
00
0 0
-4 -4
-1-1
-8 -8-3-3
-12 -12
-16 -16
-7-7
-20 -20
-10-10 -24 -24
-30 -30
-36 -36
-20-20
+3+3
+2
+1
CLIP CLIP
+16 +16
+20 +20
+12 +12
+2
+8 +8
+1
+4 +4
00
0 0
-4 -4
-1-1
-8 -8-3-3
-12 -12
-16 -16
-7-7
-20 -20
-10-10 -24 -24
-30 -30
-36 -36
-20-20
+3+3
+2
+1
CLIP CLIP
+16 +16
+20 +20
+12 +12
+2
+8 +8
+1
+4 +4
00
0 0
-4 -4
-1-1
-8 -8-3-3
-12 -12
-16 -16
-7-7
-20 -20
-10-10 -24 -24
-30 -30
-36 -36
-20-20
09090
180
-180

18
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.
Both 2254's are available externally on the rear panel of
the Master Section, or can be linked and applied to the
Main 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
the Master Section. When the Mix button is
inactive, the 2254 will process the
inputs.
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.
- Cycles through the Meter display
options. Meters can be set to display either
the Input signal (LED will be active),
Output signal ( 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).
- 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.
- Switches the Compressor in (up)
and out (down) of the circuit.
- 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.
- Provides up to 20dB of
additional gain in 2dB steps.
- Sets the response time the
compressor takes to return to 0dB gain reduction.
Three presets are provided: , , ,
plus an setting.
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'.
- Controls the ratio of gain reduction to
input signal level.
MAIN
MIX IN METER
IN
GR
OUT
IN
GR
OUT
LINK
IN
METER
N2069
COMP THRESHOLD GAIN MAKE UP COMP RECOVERY
0
-10
-20
+10
COMP IN
0 20
AUTO
10
400mS
800mS 1.5S
LIMIT LEVEL
LIMIT ON FAST ATTACK
+4
+8
+20
+16
+12
LIMIT RECOVERY
100mS AUTO
200mS 800mS 4:12:1
1.5:1 6:1
3:1
COMP THRESHOLD GAIN MAKE UP COMP RECOVERY
0
-10
-20
+10
COMP IN
0 20
AUTO
10
400mS
800mS 1.5S
LIMIT LEVEL
LIMIT ON FAST ATTACK
+4
+8
+20
+16
+12
LIMIT RECOVERY
100mS AUTO
200mS 800mS 4:12:1
1.5:1 6:1
3:1
COMP RATIO RIGHT
2254
COMP RATIO LEFT
2254

19
Five preset ratios are provided: , , , and
.
The control characteristic is shaped such that the onset
of compression is smooth and progressive, the true
ratio being reached within the rst 5 to 10dB above the
Threshold.
- Switches the Limiter in (up) and out (down) of
the circuit.
- Sets the threshold of the Limiter. May be
set in steps of 1dB increments from +4dBu to +20dBu.
- There are three preset
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'.
- 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.
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.
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.
Any selected Channel(s) can be routed to one or
more Groups by pressing and holding any one of the
. 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.
- 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.
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:
- Routes the selected Channel(s) to the Retro
and Modern Mix Outputs via the Main Mix Fader.
- 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.
- 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.
1 2 3 4 5 6 7 8
0MAIN
MIX
FADER
SWAP PAN GRP
VIEW
ESC
PEAK
LED
SIG
LED RCL
STORE
<< >>
AUTO

20
All recallable buttons on the console can be stored and
instantly recalled later. These stored settings are called
. A total of eight Scenes can be stored using
buttons .
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.
1. Select .
2. The eight Scene/Group Buttons will ash
and the LED display will show 'ST'.
3. Select one of the eight ashing
Scene/Group Buttons.
4. Select again to conrm.
1. Select .
2. The eight Scene/Group Buttons, and Scene
0, will ash. The LED display will show 'rc'.
3. Select the Scene/Group Button under which
a previous Scene has been stored.
4. Select again to conrm.
Settings that have been saved under a Scene can easily
be copied to another Scene.
1. Select .
2. The eight Scene/Group Buttons, and Scene
0, will ash. The LED display will show 'cP'.
3. Select the Scene/Group Button under which
the previously saved Scene is stored.
4. Select again.
5. The eight Scene/Group Buttons will ash again.
6. Select the Scene/Group Button under which
you wish to copy the selected Scene to.
7. Select to conrm.
The following features are aimed at integrating the user's
personal workow with the Series 75 console.
All user features are recallable using the console's
Scenes.
↑↓ - Used in conjunction with and
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.
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).
- 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:
»Output volume in dB when the Control
Room Volume is altered.
»Threshold of the Peak LED/Signal LED,
using a 0 - 100 scale, when calibrating.
» whilst storing a Scene.
»rc whilst recalling a Scene.
» whilst copying a Scene.
»Gr whilst in Group View mode.
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