Customseries75 Manual PDF

revision: 2.
2
15 May 2013 5:01 PM
Owner’s Manual
For Software Version 3
Contents
Introduction 3 Modifications 29
About This Manual 4 Modification 1 - Insert Point Post/Pre EQ 29
Terminology 4 Modification 2 - Installing Additional Modules 29
Quickstart 4 Block Diagrams 30
Installation 5 Channel & Input Block Diagram 30
Health & Safety 5 Group Amps 31
Connections 5 Stereo Mix & Outputs 32
Master Section Rear Panel 6 CR Monitor 33
Channel Bin Rear Panel 8 AUX Headphone & Stereo Returns 34
Operation 9 Ancillary 35
Powering Up 9 Dimensions 36
The Power Supply and Soft Start 9 32 Channel Frame 36
Retro and Modern Circuitry 10 24 Channel Frame 36
The 2081 Module 12 16 Channel Frame 36
Meterbridge 12 Recall Sheets 37
Input Module 13 Wiring Diagrams 40
Auxiliaries 13 XLR Connectors 40
2081 EQ 14 1/4” TRS & TS Connectors 40
Monitor path, Channel Output & Retro 14 DB25 Connectors 40
Channel Path Fader 15 Master Section Rear Panel 41
Master Section 16 7.1 Inputs 41
Metering 17 Surround Spk (Alt2) 41
2254 Compressor 18 Reverb (Stereo) Returns 42
2254 Compressor Meters 18 Speakers 42
2254 Controls 18 Aux Sends 42
Limiter 19 SLS, Red Light, TB, Listen 42
Assign Section 19 Headphones 43
Channel Routing 19 Mix Insert, 2 Trk 1,2 43
Channel Functions 19 Mix Outs & 2254 43
Scenes 20 Group Outputs/Insert Sends 43
Custom User Features 20 Stem Outputs 44
Oscillator & SLS 21 DAW/Ins Return 44
Oscillator 21 Channel Bin Rear Panel 45
SLS 21 Channel Insert Sends 45
Group Send/Returns 22 Channel Insert Returns 45
Reverb Returns 23 DAW Inputs 45
Auxiliary Master Section 23 Line Inputs 45
Headphone Sends 23 Direct Outputs 46
Channel Meters/Master Meters 24 Glossary 47
Channel Meter Controls 24 Amplifying Stages 47
Master Meter Controls 24 Channel Bin 47
Console/Channel Modes 24 Current Summing 47
Control Room 26 Modern Output Stage 47
Control Room Volume and Controls 26 Retro Output Stage 47
Monitor Source 26 Stem Outputs 47
Control Room Headphones 27 Voltage Summing 47
Solo 27 Credits 48
Talkback and Listen Mic 27
Faders 28
2
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
With the release of the 1073 mic preamp/EQ in 1970, 1073 and 2254. Five auxiliary sends, fader swap and a
and the 1081 released in 1973, Neve’s classic circuitry choice of either classic or modern channel output circuitry
has consolidated their position in the professional audio are provided.
industry. Since then, a desire for “cleaner” recordings
using modern circuitry has resulted in classic circuitry Two 2254 compressors, four stereo reverb returns,
becoming an option – but not the only option. eight recallable scenes, monitoring of up to 12 sources
simultaneously and comprehensive 7.1 monitoring are
The development of technology and the digital world just some of the features found in the master section.
cannot be ignored.
Available in a 16, 24, 32, 40, 48, 56 or 64 module
With these two mindsets clear, the Custom Series 75 has chassis, the Series 75 is flexible and able to suit a variety
achieved a world first, the combination of classic circuitry of studio applications from broadcast to music and even
and modern circuitry in one console. film production.
The classic Neve circuitry has been painstakingly re- Designed specifically for longevity, gold plated switches
created, keeping faithful to the original whilst taking and connectors have been used for all audio circuits, and
advantage of modern assembly methods. The original all parts have been selected on their projected availability
circuits have only been changed where justified by an many years from now. All capacitors in the signal path are
improvement in reliability or performance. Rather than polypropylene film or Rubycon ZLH series electrolytic,
running the length of the console, the voltage summing chosen for superb sonic performance and long life.
busses are a mere 150mm long and they are now Ergonomic design allowing the engineer to reach any
balanced, resulting in lower noise and less crosstalk. parameter on the board from a seated position (up to
Other “charming quirks” of the original circuits such 32 Channels) make this console a workstation that is
as the level onto busses varying as more busses are comfortable for long hours, flexible for countless practical
assigned from a channel, have been overcome. Improved and creative applications, and unbeatable for sonic
BA338 amplifying stages and legendary BA283 output character or transparency!
stages combined with classic Neve LO1166 output
transformers, sound warm, defined and punchy. The Custom Series 75 is a console that is here to stay.
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 If you don't want to read the complete manual, you can
should be used as a quick reference for owners of the start with the most important sections below:
Custom Series 75 console, not to be read cover to cover,
but as an accompaniment helping you to get to know »» Installation:
your new console. Important terms can be found in bold http://www.customseries75.com/pdf/
allowing you to skim through to the exact section on a health_safety_installation_connections.pdf
page that is relevant.
»» Power Up Procedure:
Terminology
http://www.customseries75.com/pdf/operation.pdf
»» Master Section:
Extensive use of terminology, of which we feel it http://www.customseries75.com/
necessary to define before continuing, is used throughout pdf/master_section.pdf
this manual. Make sure you are familiar with this before
continuing. The glossary located at the end of the manual »» Channel Strip:
may also assist! http://www.customseries75.com/
pdf/2081_module.pdf
Module - To avoid confusion between a Channel and
the Channel path, 'Module' has been used instead to This will give you a starting point from which you can
distinguish the physical modules that contain both the come back and print out sections that you are interested
Channel path and Monitor path. in.
DAW - Digital Audio Workstation.

Can I download the
Bus - A summing point for all signals routed to the same
place. All busses in the Series 75 are balanced lines to a complete manual?
particular destination (e.g. ‘Stereo Local Mix Bus’ picks
up all signals routed from Channels and takes them to the Yes, the manual can be downloaded at http:www.
Main Mix). 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 Countless input and output options, not all of which
there are a number of health and safety aspects which will apply to any one studio setup, can be found on the
must be considered. See the H & S document provided Series 75. It is recommended that you read this section
with the console when delivered for in depth information, of the manual thoroughly, decide exactly which features
and observe the following at all times. 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 A patch bay simplifies the connection of external devices
at least 1 minute, before connecting/ and can be made to order, however is not necessary.
disconnecting power to the console. Available in 24, 32, 40 or 56 point layouts, the patch
bay is a 19" panel that resides in a specially designed
»» Be aware that it is unsafe to expose the console Channel bin on either the left or right side of the console.
directly to liquid. Position the console away from Patch points are terminated to DB25 connectors on the
air conditioners that may drip water unexpectedly. rear of the patch bay for easy connection of console
It is also not recommended to house water, i.e., inputs/outputs and external devices.
in a vase, on or in close proximity to the console.
The size of your studio setup will be the major factor
»» In the unlikely event of the console failing when considering cabling. Individual pre-made cables are
to operate due to an internal issue, contact easily purchased and may be a time saving option.
the supplier immediately for instructions on
how to proceed. Alternatively, navigate to Make sure the power supply and interfaces are
'Contact Us' on the Series 75 website (http:// switched off, and have been off for at least 1 minute,
www.customseries75.com), or have the before connecting or disconnecting power.
console professionally serviced at one of our
service centres (details on our website).
5
Master Section Rear Panel
7.1 Input
Main Spk
R L
Surround Spk (Alt2)
2Trk1 Mon In
Reverb (Stereo) Returns
R L
Speakers
Mix Out
R L
Aux Sends
model type
serial no.
SLS, Red Light, TB, Listen Made in Australia
WARNING N25549
DISCONNECT PSU LEAD
BEFORE REMOVING MODULES
Headphones Group Out/Ins Send NO USER SERVICEABLE
PARTS INSIDE.
REFER TO MANUAL
Console Power
Mix Insert, 2Trk 1,2 Stem Out
MIX OUT, 2254 8Trk Play/Ins Ret
Serial
Connectors for the Main Spk L & R and Mix Out can be Surround Spk (Alt 2)
found on both XLRs and DB25. It is recommended that
the DB25 connectors be used. The XLRs may come in Up to 8 surround monitors can be connected here. When
handy for guests who prefer to supply their own monitors, Alt 2 is selected as the monitor source in the Control
or if a 2 track recording of a mix on a portable device is Room section, the group cuts and solos will effect the
desired. eight individual speaker outputs. Note that a third set
of stereo monitors could be connected here if surround
The 2Trk1 Mon In is an external input to the Control monitoring is not desired.
Room monitor section (2T1). Available on both DB25 and
XLR for convenience.
Reverb (Stereo) Returns
7.1 Input These inputs feed the four stereo Reverb Returns.
Naturally, the output of outboard effects, a patch bay, or
DAW outputs or a device containing up to 8 outputs may XLR connectors could be wired here.
be connected here; the 7.1 Input feeds the Control Room
monitor section and can be selected here in order to
monitor up to 8 channel surround sound via the Surround
Spk (Alt 2) outputs.
6
Speakers Mix Out, 2254
Carries the Main Speaker Outputs, Alt 1 and Monitor There are two separate mix outputs on the Series 75,
Mix Output signals. In an ideal world, the Main Speaker Modern and Retro. See Modern Output Stage and Retro
Outputs and Monitor Mix Outputs will be connected to the Output Stage for details. Modern Mix Outputs appear
main studio speakers. Alt 1 would be connected to your on channels one and two. Retro Mix Outputs appear on
secondary studio monitors. channels three and four.
Connect these to available interface inputs or a patch bay

Aux Sends as your Stereo Mix Outs. The balanced external inputs to
the 2254 Compressors appear on channels five through
All 7 auxiliary sends (1, 2, 3, A[stereo] and B[stereo]) eight.
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
The first two channels carry the Studio Loud Speaker also act as Group Insert Sends, in which case connect
(SLS) output signals. The external input to the SLS these to male XLR connectors or a patch bay.
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 Stem Out
power and should be run at 1 AMP 24 Volts maximum.
Connect an External Talkback Switch, if desired, to The Stem Outputs carry the eight Group signals post-
channel 6. A Listen Mic Input can be connected to fader. Recommended as inputs to your DAW, and useful
channel 7, and PFL Out is available on channel 8. for stem mixing.
Headphones DAW/Ins Return

Carries two balanced (channels one through four) Extra DAW outputs could be connected here to achieve a
and two unbalanced (channels six and seven) stereo further eight inputs of monitoring. However, if the Group
headphone outputs. The unbalanced outputs are able Outputs/Ins Send connector was used as Insert Sends,
to drive up to 10 headphones (without the need for an use these as your Group Insert Returns.
external headphone amp), the balanced outputs will need
to be connected to a headphone amp.
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
On the rear panel of each Channel Bin you will find eight Line In
balanced Mic Inputs (XLR) and eight DI inputs (1/4").
DAW Inputs and Line Inputs are available on DB25 Envisioned connection is the output of external devices
connectors. These feed the input of each 2081 Module. (such as outboard effects or any other line level devices).
Mic Inputs are supplied Phantom Power on a per-channel These may feed the Monitor path or the Channel path
basis. dependent on the state of the module Input selection.
Insert Sends/Insert Direct Out

Returns 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
The Custom Series 75 is powered by an external Power Soft Start
Supply, and utilises Soft Start Technology.
A large current is needed to power the console. A circuit
To ensure a safe power up, observe the following board containing a microchip (known as the Soft Start
procedure. board) slowly ramps the voltage up to the required
amount. This procedure stops the power supply from
1. Switch off Mains Power. drawing to much power and tripping the mains circuit. In
the event that the console does not power up, the Green
2. Double check that the 115/230V Voltage Selector Light will not indicate on the front of the Power Supply,
on the rear of the Power Supply is in the correct and instead the Red Fault Light will be active.
position in relation to your mains supply.
This indicates that one of the following errors has
3. Connect the cable from the rear of the Power occurred:
Supply to the rear panel of the consoles Master
Section. Align one of the two tabs on the »» The 115/230V Voltage Selector, found
outside housing of the power cable, with the on the rear of the power supply, may
Centre Tab indicated on the image below. Slot be in the incorrect position.
the power cable into the connector on the rear
panel of the Master Section. Screw the outside Or
housing of the power cable into the rear panel
connector ensuring that it locks into place. »» One or both of the two fuses found on the
Soft Start circuit board may have blown –
4. All audio outputs are automatically muted power down, remove the lid of the Power
during the consoles power up procedure. Supply, and locate the two fuse holders found
adjacent to the 115/230V Voltage Selector
5. Switch the Power Supply on using (this is rare, generally there will be a reason
the two position switch located on the fuse has blown – it is highly recommended
the front panel, up is on. that the power supply be professionally
serviced). Replace with 6 AMP fuses.
The Green Light on the front of the Power Supply should
light. Due to the classic circuitry, the console will take If neither of the above solutions fix the problem, have the
15 seconds to stabilise during which all meters will light Power Supply professionally serviced.
before returning to the default view.
9
Retro and Modern Typical Setups
Circuitry The following outlines how to achieve both Retro and
Modern sounds in a record, mixdown and overdub
The Custom Series 75 console can achieve the Retro environment. Keep in mind that these are not the only
sound of classic 1970’s circuitry, or the Modern sound scenarios possible. For further assistance, please consult
of modern circuitry. There are a few ways in which these the block diagrams.
sounds can be achieved, however the true versatility of
the Custom Series 75 is realized with the combinations of
both Retro and Modern circuitry. Recording
If you would like to quickly compare the sound of the Retro
Voltage and Current summing busses (see the Glossary
for definitions of these), and the Retro and Modern output Using a typical signal path for recording, i.e.
stages, try the following. Please then read on for a more
in depth explanation of the signal flow. Mic Input [Ins-pre] 2081 EQ
1. Make sure you have a large number

of signals being routed through the
Channel paths of the console.
[Ins-post] Fader Direct Output
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 signal will pass through a L0468 Input Transformer
the Retro summing bus. Save as Scene at the input stage, and an LO1166 Output Transformer,
2 by selecting STORE and 2 when the post-Fader, before feeding the Direct Out (always active)
eight scene buttons are flashing. to the Multi-Track.
4. For now, select MODERN OP in the The resulting recorded signal will be marginally
Monitor Source section so that the main ‘coloured’.
output stage remains uncoloured.
Modern
5. By switching between Scene 1 and Scene
2 you will hear the difference between each To record a clean signal (transformerless), bypass the
summing bus. The stronger the signals are L01166 Output Transformer by patching the Insert Send
driven the more obvious the colouration will be. directly to the Multi-Track Inputs. The Input Gain and Trim
on the Channel will now be the only level to the Multi-
6. Now, toggling between MODERN OP Track. Engaging Fader Swap (depressing the High Pass
and RETRO OP in the Monitor Source Filter Selector) will result in the Fader controlling the level
section will enable you to hear the of the Multi-Track return, which may be more comfortable.
difference between both output stages.
Fader Swap can be engaged globally in the Console
Modes section of the Master Panel.
10
Mixdown Groups
There are two selectable mix busses present in the Keep in mind that each of the eight Groups contains
Custom Series 75. One is based on Voltage Summing both a L0468 Input Transformer and an LO1166 Output
technology, the other on Current Summing technology Transformer. If a Channel is routed to a Group, it is
- see the Glossary for explanations of each of these. summed on a Current Summing Mix Bus (the Group Mix
Further, there are two selectable main mix outputs, the Bus) before being passed through both transformers and
Retro Output (LO1166 Transformer) and the Modern fed to the Main Mix Fader.
Output (transformerless).
The Groups are also patchable via the ‘8Trk Play/Ins Ret’
Retro and the ‘Group Out/Ins Send’ DB25’s on the rear panel
of the Master Section, or could be made available on a
On the 2081 module of the Custom Series 75, selecting patchbay.
RETRO assigns the Channel Output to the Voltage
Summing Mix Bus. Further Experimentation
The flexibility of the Custom Series 75 becomes apparent

DAW/Line Input [Ins-pre] 2081 EQ 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.
Voltage Summing
[Ins-post] Fader
Mix Bus 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,
This then feeds the Main Mix Fader. Selecting RETRO or both (!) results in ultimate control over a mix.
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
Current Summing
[Ins-post] Fader
Mix Bus
routes the Main Mix Fader via an IC to the Modern

Outputs on the Mix Out DB25.
11
The 2081 Module Meterbridge
N2081
1 2
3 4
Each inline 2081 Channel Module has two

5 6
7 8
independent paths, CHANNEL path and FADER

SWAP
MAIN
MIX
MONITOR path. Multiple inputs can be

0
O
selected for each path. The Channel path is 24
30
36 -10 TRIM 10
controlled by a fader, and the Monitor path

18 42
12 48 +48V
6 54
is controlled by a rotary. The Channel path

0 60
66
MIC/DI GAIN
INPUT
is normally used to process audio to or from

MIC DI DAW
100
50 150
your DAW, and the Monitor path is normally 25 300
used to listen to the return from your DAW AUX B
or effects processors. L PAN
AUX A
R
You will notice that the multiple inputs for

the Channel path can be cycled through at
AUX 3
the top of the module using INPUT, when

no LEDS are active, the input is set to Line.
AUX 2
The Channel path output fader is at the +3 CLIP +3 CLIP

+20 +20
bottom of the module, this feeds the Direct
AUX 1
+2 +2
+16 +16
Out or the Stereo Bus via the Voltage or
Current Summing Bus (switchable using the +1 +12 +1 +12
Retro button). The controls for the Monitor

OFF
15 - +
0 +8 0 +8
GAIN
10
6.8
path can also be found at the bottom of

4.7
3.3
+4 +4
the module, just above the Channel Path OFF

- +
-1 0 -1 0
Fader.
1.5 GAIN
8.2 1.8
6.8
5.6
2.2
2.7
HI Q
-4 -4
4.7 3.3
3.9
-3 -8 -3 -8
Two stereo and three mono Auxiliary OFF
220 - GAIN + -12 -12
Sends can be sourced from the Channel
1.2k 270
1k 330 HI Q
820 390
-7 -16 -7 -16
or Monitor path (pre or post fader) by
680 470
560
-20 -20
depressing the level control. OFF
33 - GAIN +
-10 -24 -10 -24
56
100
180
The EQ found on the 2081 Channel Module

330
INS EQ
-30 -30
offers the classic sonic flavour of the -20 -36 -20 -36
1073, with the functionality of a 1081. The

LINE
L PAN R
output amp is based on the BA283, single I

S
SEL
ended, class A circuitry with a gapped

O
MON 10
0
0
core transformer, as used in the 1073 and SIG
2254 Compressor. The recreation of the PAN

RETRO
circuitry sees the same sonic qualities

L PAN R
SOLO CUT
as the original, heralded as eminently

'musical', whilst a far cleaner and quieter
signal through the redesign of the BA338 At the top of each module, there is a Bargraph Meter.
amplifying stage has been achieved. The bargraph meters can display any of the available
inputs for the module of which there are four, Mic/Line/DI/
Signals on the Channel path can be routed DAW (see Channel Meters section for details).
to multiple destinations by focusing the
Channel in the Assign Section using the In PPM mode, the top 4 LEDs are brighter to indicate
Channel Select button. Destinations include proximity to clipping. In VU mode, the top 8 LEDs are
the Voltage Summing Bus (Retro), Current brighter.
Summing Bus (Modern), Main Mix, and
Groups. The Channel Number is indicated by an LED display
directly below the bargraph meters. These will light once
The following looks at the individual the console has been powered up.
controls of the 2081 Channel Module in
great detail. Descriptions of the console's Labels on the left side of the bargraph indicate VU
signal flow can be found in the Signal Flow readings (+4dBu), and the right, PPM (-10dBV).
section, and diagrams can be found in the
Block Diagrams section.
12
Input Module Auxiliaries
The Input Module hosts the Each module contains two
N2081
Channel Input Selector, Gain AUX B
stereo (A & B) and three mono
and Trim, Phase, 48V, and (Aux 1, Aux 2, Aux 3) Auxiliary
High Pass Filter. All buttons L PAN R Sends. The order in which
1 2 are recallable using the Auxiliaries 1 to 3 are accessed
AUX A
consoles scenes. is bottom to top respectively.
3 4
A & B are situated above the
5 6 The Input Selector cycles three mono sends. All features
through the four available other than the level controls
7 8
Channel path inputs. Mic, AUX 3 in the Auxiliary Section are
FADER
SWAP
MAIN
MIX
DI and DAW are indicated recallable.
0 by LEDs, when no LEDs are
active the Channel input is Auxiliary 1, 2 and 3 have
O Line. Once the desired input individual level controls.
AUX 2
has been selected, Phantom Auxiliary A and Auxiliary B
30
18
24 36
42
-10 TRIM 10 Power (48V), Gain and Trim are stereo sends that share
12 48 +48V
controls will adjust the input a level control. All Auxiliary's
6 54 signal level. The 12 position default position is pre-fader on
0
66
60
gain switch (0dB → 60dB) will AUX 1 the Channel path. When the
MIC/DI GAIN
INPUT
allow an approximate gain level controls are depressed,
MIC DI DAW
100
value to be reached. The trim they cycle through the
50 150
control will adjust the input conventional positions in the
signal more precisely (-10dB following order - Channel Pre,
→ +10dB). Channel Post, Monitor Pre, Monitor Post.
25 300
If required, the Phase control If desired, Send A and B can be engaged simultaneously.
will invert the incoming signal. If both sends are active (i.e. for two stereo cue sends),
The High Pass Filter with frequency selection allows the shared level control will increase/decrease the overall
low frequencies to be rolled off using the continuously level and the pan will balance the level across the active
variable control between 25Hz and 300Hz (18dB/octave). sends.
The HPF Frequency Selector has dual functionality. Two available stereo cue sends allow the flexibility of Aux
When the HPF button is selected it will act as a frequency A being active on one module, whilst Aux B is active on
selector. When depressed the module will engage Fader another.
Swap mode.
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 Monitor path, Channel
Based on the acclaimed 1973 Output & Retro
- 1081 EQ. In a recording or
mixdown environment the The Monitor path section
OFF
15 - GAIN + 2081 Channel Module's EQ, LINE
features a rotary trim control
10 blurs the line between circuitry and two selectable inputs, DAW
6.8
and musicality. In comparison L PAN R and Line. Line, Retro, Cut, Solo
4.7
3.3 to the original, tweaking the and Solo Isolate are recallable.
SEL
circuitry that controls drive I
S
O
ability and stability versus MON 10 The default input for the Monitor
0
0
OFF temperature has resulted path is DAW when CH INPUT
1.5 - GAIN +
8.2 1.8 in reduced distortion and is selected, and LINE when
6.8 2.2 HI Q approximately 9dB more SIG MON INPUT is selected in
5.6 2.7 dynamic range. If you are the Console Modes section.
4.7 3.3 RETRO
3.9
familiar with the original, you Selecting LINE will toggle
will experience far cleaner and L PAN R PAN between these two inputs. DAW
quieter output, with that same is the envisioned return from
OFF SOLO CUT
1.2k
220
270
- GAIN + eminent 'musical' quality. your chosen multi-track. Line
1k 330 HI Q may be a return from external
820 390 All buttons are recallable. equipment such as effects
680
560
470
units. The Signal LED will
Until EQ is selected, the indicate when the Monitor path
circuitry is hard bypassed, i.e., is receiving signal.
OFF
33 - GAIN + the input is connected directly
56
to the output. Further, each The Pan control in the Monitor path section is dual
100
180
band is hard bypassed until a function and will Solo Isolate when depressed.
330 frequency is selected. This is
INS EQ
a new feature not present in Channel Select (SEL) will Focus the Channel in the
the original 1081, resulting in Assign Section of the console. From here, the Channel
less noise on a signal running can be routed to the Main Mix or Groups 1 through 8.
through just one or two bands
as opposed to four. The Channel path Pan, Solo (see Solo Modes) and Cut
can be accessed directly below the Monitor path section.
The 2081 EQ is a four band semi-parametric EQ. Bell By default, the Pan knob is inactive. Channel Panning
curve and Hi Q controls, adjacent to the Frequency can be activated globally in the Channel Modes section,
Selectors, switch between a narrow/wide Q on the high or individually by selecting the Channel and pressing
and low mids, or a narrow Q/shelving EQ on the high and PAN in the Assign Section. As with the Monitor path, the
low frequencies. Pan control in the Channel path has dual functionality
and will Solo Isolate when depressed.
The Frequency Selector controls are stepped and select
which frequencies will be boost/cut by the continuously The Pan LED indicates if Pan is active on the Channel.
variable gain controls. When set to the 12 o’clock position Note that panning will only be effective if the Channel is
the Frequency Selector is off and the band is in hard routed to the Main Mix or multiple Groups.
bypass.
Retro routes the Channel path to the Retro Output Stage,
EQ Ranges: if inactive the Channel path feeds the Modern Output
Stage.
»» HF - 3.3Khz - 15Khz
»» HM - 1.5Khz - 8.2Khz
»» LM - 220Hz - 1.2Khz
»» LF - 33Hz - 330Hz
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 VU VU
-180
90
0
90
180
The Master section of the Custom Series

75 is host to two linkable (and externally +3 CLIP
+20
+3 CLIP
+20
+3 CLIP
+20
+3 CLIP
+20
+3 CLIP
+20
+3 CLIP
+20
+3 CLIP
+20
+3 CLIP
+20
patchable) mono 2254 compressors, the 2081

+2 +2 +2 +2 +2 +2 +2 +2
+16 +16 +16 +16 +16 +16 +16 +16
+1 +12 +1 +12 +1 +12 +1 +12 +1 +12 +1 +12 +1 +12 +1 +12
0 +8 0 +8 0 +8 0 +8 0 +8 0 +8 0 +8 0 +8
Channel Module routing options, eight Groups,

+4 +4 +4 +4 +4 +4 +4 +4
-1 0 -1 0 -1 0 -1 0 -1 0 -1 0 -1 0 -1 0
-4 -4 -4 -4 -4 -4 -4 -4
comprehensive monitoring, Listen Back and

-3 -8 -3 -8 -3 -8 -3 -8 -3 -8 -3 -8 -3 -8 -3 -8
-12 -12 -12 -12 -12 -12 -12 -12
-7 -16 -7 -16 -7 -16 -7 -16 -7 -16 -7 -16 -7 -16 -7 -16
Talkback controls, Headphone Sends, and an

-20 -20 -20 -20 -20 -20 -20 -20
-10 -24 -10 -24 -10 -24 -10 -24 -10 -24 -10 -24 -10 -24 -10 -24
-30 -30 -30 -30
analog Oscillator. There are also eight multiple

-30 -30 -30 -30
-20 -36 -20 -36 -20 -36 -20 -36 -20 -36 -20 -36 -20 -36 -20 -36
function bargraphs, two VU meters, a Phase

Meter and four Stereo Returns. N2069 N3673
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
IN IN
MAIN IN METER GR GR METER IN LINK
MIX
controlled buttons.
OUT OUT
10 800mS 1.5S
0
-10 400mS AUTO
CAL 1K GRPS PFL EXT

100 10K
60 16K
40 PINK
+10
OSC MAIN DIR SLS
-20 LEVEL 10 MIX SLS 10
0
0
0
0
COMP IN
0 20
COMP THRESHOLD GAIN MAKE UP COMP RECOVERY
+12 200mS 800mS 3:1

2:1 4:1
100mS AUTO
+8 +16 1.5:1 6:1
0 0 0 0 L BAL R 0 L BAL R
0
0
0
0
0
0
0
0
0
0
AUX1 AUX2 AUX3 AUX A AUX B
AUX SEND TRIMS
+4 +20
LIMIT ON FAST ATTACK
2254
HP 2 HP 2 HP 2 HP 2
LIMIT LEVEL LIMIT RECOVERY COMP RATIO RIGHT
L BAL R L BAL R L BAL R L BAL R

10 800mS 1.5S
0
-10 400mS AUTO
HP 1 HP 1 HP 1 HP 1
10 10 10 10
0
0
0
0
0
0
0
0
+10
MAIN MON MAIN MON MAIN MON MAIN MON
-20 MIX MIX MIX MIX MIX MIX MIX MIX
COMP IN
0 20
SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO
ISO ISO ISO ISO
+12 200mS 800mS 3:1
2:1 4:1
100mS AUTO
REV RET 1 REV RET 2 REV RET 3 REV RET 4
+8 +16 1.5:1 6:1
AUX 1 AUX 2 AUX A MON AUX 1 AUX 2 AUX A MON

MIX MIX
+4 +20
LIMIT ON FAST ATTACK CR AUX 3 AUX B MAIN CR AUX 3 AUX B MAIN
2254 MON MIX MON MIX
LIMIT LEVEL LIMIT RECOVERY COMP RATIO LEFT
1 2 3 4 5 6 7 8
10 L BAL R 10 L BAL R
0
0
0
0
HEADPHONE SEND 1 HEADPHONE SEND 2
MAIN FADER GRP CHANNEL METERS CONSOLE MODES (HOLD)
0 PAN
MIX SWAP VIEW
CH MON VU CH MON
DIR FADERS PEAK PAN RETRO
INPUT INPUT
PEAK SIG
K LED LED RCL ESC
AUX REV FADER MON MIX
ST MON -6dB SWAP
PFL RET MAIN INS
K STORE << >> MASTER METERS CHANNEL MODES (HOLD)

AUTO
CRM Hp1 Hp2

HP PFL AUX B
iMON HP + PFL
2T1 2T2 7.1 iMON AUX 3 AUX A

0 0 0 0 0 0 0 0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
GRP1 GRP2 GRP3 GRP4 GRP5 GRP6 GRP7 GRP8

GROUP SEND TRIMS
SUM RETRO MODERN MON AUX 1

OP OP MIX AUX 2
MONITOR SOURCE
L PAN R L PAN R L PAN R L PAN R L PAN R L PAN R L PAN R L PAN R
0 111/2
DAW DAW DAW DAW DAW DAW DAW DAW
-30 DIM 0 TALK LISTEN

MIC
SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO MAIN ALT1 ALT2
ISO ISO ISO ISO ISO ISO ISO ISO
AFL PFL SIP SIF
SURROUND SOLO TALKBACK
LCUT MONO RCUT SOLO AUX HP1 LISTEN RED

SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO MODE LIGHT
SOURCE IN MONO
SOLO STATUS
CUT CUT CUT CUT CUT CUT CUT CUT CUT CAL SWAP DIM CLEAR LINK CUE HP2 SLS
LOCK
1 2 3 4 5 6 7 8
GROUP RETURNS
1 2 3 4 5 6 7 8 MAIN MIX MONITOR MIX

GROUP RETURNS
16
Metering
0
90 90
-180 180
VU VU
+3 CLIP +3 CLIP +3 CLIP +3 CLIP +3 CLIP +3 CLIP +3 CLIP +3 CLIP

+20 +20 +20 +20 +20 +20 +20 +20
+2 +2 +2 +2 +2 +2 +2 +2
+16 +16 +16 +16 +16 +16 +16 +16
+1 +12 +1 +12 +1 +12 +1 +12 +1 +12 +1 +12 +1 +12 +1 +12
0 +8 0 +8 0 +8 0 +8 0 +8 0 +8 0 +8 0 +8
+4 +4 +4 +4 +4 +4 +4 +4
-1 0 -1 0 -1 0 -1 0 -1 0 -1 0 -1 0 -1 0
-4 -4 -4 -4 -4 -4 -4 -4
-3 -8 -3 -8 -3 -8 -3 -8 -3 -8 -3 -8 -3 -8 -3 -8
-12 -12 -12 -12 -12 -12 -12 -12
-7 -16 -7 -16 -7 -16 -7 -16 -7 -16 -7 -16 -7 -16 -7 -16
-20 -20 -20 -20 -20 -20 -20 -20
-10 -24 -10 -24 -10 -24 -10 -24 -10 -24 -10 -24 -10 -24 -10 -24
-30 -30 -30 -30 -30 -30 -30 -30
-20 -36 -20 -36 -20 -36 -20 -36 -20 -36 -20 -36 -20 -36 -20 -36
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 (pre-

fader) - 1, 2, 3, 4, 5, 6, 7, 8
17
2254 Compressor
N2069 the Master Section. When the Mix button is
inactive, the 2254 will process the external
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
IN IN to the output.
MAIN IN METER GR GR METER IN LINK
MIX
OUT OUT
METER - Cycles through the Meter display
0
10 800mS 1.5S options. Meters can be set to display either
-10 400mS AUTO
the Input signal (IN LED will be active),
Output signal (OUT LED will be active), or
+10
the amount of Gain Reduction applied to the
-20
COMP IN
signal by the Compressor and Limiter in total
0 20 (GR LED will be active).
+12 200mS 800mS

2:1
3:1
4:1
ST LINK - Lights yellow when selected. Press
+8 +16
100mS AUTO
1.5:1 6:1
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
+4 +20
signal which has been patched into the rear
2254 panel of the Master Section.
2254 Controls
10 800mS 1.5S
0
-10 400mS AUTO
+10
COMP IN - Switches the Compressor in (up)
-20 and out (down) of the circuit.
COMP IN
0 20
COMP THRESHOLD - Can be varied in 2dB
+12
100mS
200mS 800mS
AUTO
2:1
3:1
4:1 steps from -20dBu to +10dBu, thus a wide
+8 +16 1.5:1 6:1 variety of effects can be achieved. Low Ratios
operated with a low Threshold will preserve
the dynamic range and also achieve a high
+4 +20
LIMIT ON FAST ATTACK signal to noise ratio. A high Ratio with a high
2254
LIMIT LEVEL LIMIT RECOVERY COMP RATIO LEFT Threshold will behave as a partial limiter.
GAIN MAKEUP - Provides up to 20dB of

The two on-board 2254 mono compressors are based additional gain in 2dB steps.
on the classic 2254 series originally released in 1969.
This particular model was re-released in 2009. A powerful COMP RECOVERY - Sets the response time the
compressor/limiter, all buttons can be stored and are compressor takes to return to 0dB gain reduction.
recallable using the Series 75 Scenes.
Three presets are provided: 100 ms, 200 ms, 800 ms,
Both 2254's are available externally on the rear panel of plus an AUTO setting.
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
2254 Compressor
isolated peaks, while remaining slow for persistently high
levels, so the impression of a normal dynamic range is
Meters
preserved as the program rides on a slowly moving 'gain
platform'.
MIX - Will apply the 2254 Compressors to the Main Mix COMP RATIO - Controls the ratio of gain reduction to
Outputs, pre-fader and before the insert points. The 2254 input signal level.
Compressors are also available on the rear panel of
18
Five preset ratios are provided: 1.5:1, 2:1, 3:1, 4:1 and Any selected Channel(s) can be routed to one or
6:1. more Groups by pressing and holding any one of the
Group Buttons 1 - 8. This sums the selected Channel
The control characteristic is shaped such that the onset output(s) onto the selected Group Mix Bus, and outputs
of compression is smooth and progressive, the true the resulting signal to the Group Outputs and the Stem
ratio being reached within the first 5 to 10dB above the Outputs post-fader.
Threshold.
GRP VIEW - This displays which Channels are assigned
Limiter
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
Limit On - Switches the Limiter in (up) and out (down) of are lit indicate that those Channels are routed to that
the circuit. Group. Select the GRP VIEW button again, or ESC to
exit Group View mode.
Limiter Level - Sets the threshold of the Limiter. May be
Channel Functions
set in steps of 1dB increments from +4dBu to +20dBu.
Limit Recovery - There are three preset Limit Recovery

times (100ms, 200ms & 800ms), plus an automatic Once a Channel has been Focused in the Assign Section
setting (AUTO). In the AUTO position, both the Attack using the Channel Select button, or multiple Channels
and Recovery times are composite and self-adjusting. have been Focused using Multi-Select mode:
Speeds are rapid for isolated peaks, while remaining slow
for persistently high levels, so the impression of a normal MAIN MIX - Routes the selected Channel(s) to the Retro
dynamic range is preserved as the program rides on a and Modern Mix Outputs via the Main Mix Fader.
slowly moving 'gain platform'.
FDR SWAP - Swaps the Monitor Path Rotary with the
Fast Attack - Switches the attack time from 100 µs Channel Path Fader, ie, the Monitor Path Rotary now
(up) to 5 ms (down). A slower Attack Time will avoid controls the Channel path output, and the Channel Path
unpleasant effects when processing signals of a Fader now controls the Monitor path output. Note: All
percussive nature (such as solo piano). In this way, a other controls remain unchanged.
narrow dynamic range may be achieved by feeding high
levels into the 2254 and choosing a low limit level. PAN - Activates the Pan control on the Channel. This
is indicated by a blue LED to the right of the Channel
Assign Section 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
0 MAIN FADER PAN GRP

MIX SWAP VIEW
PEAK SIG
 LED LED RCL ESC
 STORE AUTO << >>
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 The following features are aimed at integrating the user's
instantly recalled later. These stored settings are called personal workflow with the Series 75 console.
Scenes. A total of eight Scenes can be stored using
buttons 1 - 8. 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 ↑ & ↓ - Used in conjunction with PEAK LED and SIG
on the state of the CH INPUT/MON INPUT buttons. 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 ↑ & ↓.
To Store a Scene: The Dim Level in the Control Room section can also be
used to perform this function.
1. Select STORE.
When calibrating, the level will be displayed on a scale
2. The eight Scene/Group Buttons will flash of 0 - 100 on the Assign Section 7 segment LED Display.
and the LED display will show 'ST'. The Peak LED can be calibrated within +6VU to +18VU
(corresponds to +10dBu to +24dBu) and the Signal
3. Select one of the eight flashing LED can be calibrated between -20VU and -10VU
Scene/Group Buttons. (corresponds to -24dBu to -14dBu).
4. Select STORE again to confirm. LED Display - Ordinarily, the LED Display in the Assign
Section displays the Channel currently in focus. It is also,
however, momentary for some of the console's other
To Recall a Scene: features. The following lists the possible displays:
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.
4. Select RECALL again to confirm. »» rc whilst recalling a Scene.
BEWARE! This will reset the console, losing the »» cP whilst copying a Scene.
current settings forever…
»» Gr whilst in Group View mode.
To Copy a Scene:
Settings that have been saved under a Scene can easily
be copied to another Scene.
1. Select COPY.
2. The eight Scene/Group Buttons, and Scene

0, will flash. The LED display will show 'cP'.

the previously saved Scene is stored.
4. Select COPY again.
5. The eight Scene/Group Buttons will flash again.

you wish to copy the selected Scene to.
7. Select STORE to confirm.

20
Oscillator & SLS
Oscillator
N3673
CAL 1K GRPS PFL EXT

100 10K
60 16K
40 PINK
OSC MAIN DIR SLS

LEVEL 10 MIX SLS 10
0
0
0
0
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
GRPS - Routes the Oscillator to the Group Outputs. output designed for foldback or playback in the live
room. The LEVEL control operates between -20dBu and
MIX - Routes the Oscillator to the Main Mix Outs. +10dBu.
DIR - Routes the Oscillator to the Channel Direct Outputs CR SEL - Routes the currently selected Control Room
and the Retro Summing Bus. As signals sum at the Source to the SLS output.
Retro Summing Bus, levels will increase substantially. It
is strongly recommended to lower the Main Mix Fader EXT - Feeds the External SLS Input (available on the rear
prior to engaging DIR in order to avoid excessive levels panel of the Master Section) to the SLS output via the
feeding the monitor system. level control.
The Level control operates between -20dBu and +10dBu. PFL - Routes the PFL Solo Bus to the SLS output.
To more finely calibrate the Oscillator output level, select
CAL. The trim screw adjacent to the level control will now Note: Talkback can also be sent to the SLS outputs by
adjust the output level, and the Main Output VUs in the selecting SLS in the Talkback section.
Master Section Meterbridge will meter 0dB, displaying the
trim screw changes. Select CAL again to exit calibration
mode.
21
Group Send/Returns 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

0 0 0 0 0 0 0 0
Mix Bus (which feeds both Retro and Modern Mix Outs),
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
GROUP SEND TRIMS
Group Out/Ins Send (pre-fader), and the Stem Outputs
(post-fader).
GROUP SEND TRIMS - These attenuate the summed

DAW DAW DAW DAW DAW DAW DAW DAW signals routed to the Group, pre-fader. Generally these
should be left at 0dB, however can be attenuated to -∞.
SOLO
ISO
SOLO
ISO
SOLO
ISO
SOLO
ISO
SOLO
ISO
SOLO
ISO
SOLO
ISO
SOLO
ISO 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

CUT CUT CUT CUT CUT CUT CUT CUT
1 2 3 4 5 6 7 8
GROUP RETURNS
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 4 5
GROUP RETURNS
6 7 8 »» Fed to either the AFL or PFL Solo Bus
»» Soloed while all other Channels are Cut (SIP)
»» Fed to the AFL Bus along with the Main

Mix which is padded 10dB (SIF)
There are eight mono Group Sends and Returns on the CUT - Cuts the Group signal (post Stem Out, pre Local
Series 75 Console. All buttons are recallable. Mix Bus).
The eight Groups have each been built as a hybrid »» NOTE: When 7.1 is selected in the Control Room
Retro/Modern assembly. A Retro Output Stage appears Section, the 7.1 Input feeds the ALT 2 Speaker
before the DAW/Insert Return, after which the circuitry is Outputs (see Connections). When this is active,
transformerless. the Cuts and Solos above the Group Faders will
effect the individual ALT2 Speaker Outputs.
Each Group can take its input from two places.
Stem Outputs - These post-fader Group Outputs are
»» Individual Channels, which can be routed always active and allow subgroups within the mix to
using the Assign Section (Retro). be easily recorded back into the DAW (stems). A Retro
Output Stage at the Group Output effect any grouped
»» Or your DAW, by selecting DAW Channels, hence Channel signals at the Stem Outputs
directly above the fader (Modern). will be sonically coloured.
22
Reverb Returns Headphone Sends
HP 2 HP 2 HP 2 HP 2 MIX MIX

CR AUX 3 AUX B MAIN CR AUX 3 AUX B MAIN
MON MIX MON MIX
HP 1 HP 1 HP 1 HP 1
10 10 10 10
0
0
0
0
0
0
0
0
MIX MIX MIX MIX MIX MIX MIX MIX 10 L BAL R 10 L BAL R
0
0
0
0
ISO ISO ISO ISO
The Headphone Sends section allows any of the Auxiliary

Sends to be selected as the source for the headphones.
The Series 75 features four stereo Reverb Returns. Multiple sources may be selected simultaneously. All
Envisioned input is the output of external devices that buttons are recallable.
were fed by the consoles Auxiliary Sends. The Reverb
Returns can feed Headphone Outputs 1 & 2, the Main Aux 1, 2, 3, A & B - Selects the signal at the respective
Mix, and the Monitor Mix. Multiple destinations can be Auxiliary Master, as the Headphone Output source.
selected at once.
CR Mon - Selects the Control Room as the Headphone
Solo Isolate - When selected, the Reverb Return will not Output source.
be cut when a Channel, Group, or another Reverb Return
is soloed. Practical application may be monitoring an Main Mix - Selects the Main Mix, post-fader, as the
effect when its dry signal is soloed. 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.
Auxiliary Master
Section
0
0
0
0
0
0
0
0
0
0

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/ GRP - Meter the Group Outputs: 1, 2, 3, 4, 5, 6, 7, 8.
Master Meters AUX/PFL - Meter the Auxiliary Master levels and the PFL
Outputs: A1, A2, A3, AL, Ar, bL, br, PF.
CHANNEL METERS REV RET - Meter the four stereo Reverb Returns: 1L, 1r,
VU 2L, 2r, 3L, 3r, 4L, 4r.
CH MON DIR FADERS PEAK
VU Meters - The two VU Meters in the Master Section

Meterbridge display the level at the Retro/Modern Mix
AUX REV
ST MON
PFL RET
-6dB Outputs.
Console/Channel
MASTER METERS
Modes
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)
CH MON
A further eight VU Meters, which meter the Group INPUT INPUT
PAN RETRO
Outputs, can be located in the Meterbridges adjacent to

the Master Section.
FADER MON MIX
SWAP
The signals that are currently being metered are MAIN INS
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 Depending on the application at hand, say for example
sections for details. recording as opposed to mixdown, the Console Modes
section will change the global state of the console to
The top row of buttons consist of Channel Meter buttons, reflect the most appropriate setup.
directly below are the Master Meter buttons. These
control all Bargraph and VU meters. All buttons are The top row consists of Console Modes buttons, directly
recallable. 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
CH - Meter Channel Path inputs. Input (CH INPUT) and Monitor Input (MON INPUT).
MON - Meter Monitor Path outputs. Each of the above buttons must be held for one second
before the function is executed. This is called the Hold
DIR - Meter Direct Outputs. function and, for reasons about to be revealed, allow you
to re-think your decision before committing.
If FADERS is selected, the Bargraph Meters will display
the level of the faders. The following operations will effect all modules.
VU / PEAK toggles between VU metering or Peak CHAN INPUT - Cycles through the four Channel path
Program Metering. In PPM mode, the top 4 LEDs are input options (Mic, DI, DAW and Line).
brighter to indicate proximity to clipping. In VU mode, the
top 8 LEDs are brighter. MON INPUT - Switches between the two Monitor path
input options (DAW and Line).
Master Meter Controls Note: Be careful when cycling through Channel Modes.
If the console is in Record Mode and the CHAN INPUT
The following metering options effect the Master Section button is cycled to select 'DAW' when the DAW is armed,
Meters. a feedback loop will exist. Take a moment to think
about the result of different Channel and Console Mode
ST - Meter (in this order) Main Outputs, Monitor Outputs, combinations.
Control Room Outputs and AFL Outputs. Labeling under
the Meters will read: L, r, .L, .r, CL, Cr, AL, Ar. PAN - Activates the Pan control on all Channels.
24
RETRO - Routes the Channel path to the Channel
Retro Output Stage or Channel Modern Output Stage
before they join either the Voltage Summing or Current
Summing Bus respectively.
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 LCUT & RCUT - These cut the left and right channels
for sonically transparent monitoring of up to 12 sources. of the currently selected Speaker Outputs. If monitoring
Located in the bottom right hand corner of the Master surround using ALT2, just the L & R speakers will be cut.
Section, it hosts the Main Monitor Volume Control, source
selection for the Control Room Monitors, global Solo MONO - Feeds a mono sum of the selected Monitor
Modes, and Talkback controls. Source to the Speaker Outputs.
Other features include a Control Room Headphone Further, if LCUT and MONO are selected, the right
Output and an input labeled iMON - This is an 1/8” TRS channel of the Monitor Source will be routed to the
input designed for monitoring of external equipment, such selected left AND right Speaker Outputs. If RCUT and
as MP3 players, through the Control Room Speakers. MONO are selected, the opposite occurs.
Further still, if MONO and SWAP are selected,

the left and right channels of the selected Monitor
CRM
PFL Hp1 Hp2 AUX B
Source are subtracted, and only the difference is
heard.
HP
iMON HP + PFL
When used in conjunction, LCUT, RCUT and MONO

could be useful for calibrating speakers, checking

for mono mix compatibility, focusing on signals
OP OP MIX AUX 2
MONITOR SOURCE present only in one channel of the selected Monitor

Source, and the list goes on…
0 111/2
CUT - Cuts the selected Speaker Outputs.
MAIN ALT1 ALT2
MIC
SWAP - Reverses the selected L & R Speaker
AFL PFL SIP SIF
SURROUND SOLO TALKBACK Outputs.
SOLO RED
LCUT MONO RCUT MODE AUX HP1 LISTEN
LIGHT
SOURCE IN MONO
DIM - Dims the Speaker Outputs by a level set by
CUT CAL SWAP DIM
SOLO
LINK CUE HP2 SLS STATUS
the Dim Control. The DIM button will be activated
automatically when the following buttons in the
CLEAR LOCK
Talkback section are activated: AUX, CUE, HP1 and

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.
By far, the most exhaustive amount of effort of all of the Up to 12 sources may be selected and monitored at
Series 75 features has gone into the design of the Control once.
Room Volume circuitry.
2T1 - Routes 2 Track 1 to the selected Speaker Outputs
Up to three pairs of monitors can be connected to the via the Main Volume control.
Series 75 (see Connections for details).
2T2 - Routes 2 Track 2 to the selected Speaker Outputs
MAIN - Routes the selected Monitor Source to the Main via the Main Volume control.
Spk outputs.
7.1 - Routes the 7.1 input to the selected Speaker
ALT1 - Routes the selected Monitor Source to the Alt Spk Outputs via the Main Volume control. The ALT2 Speaker
1 outputs. Outputs are 7.1 capable.
ALT2 - Routes the selected Monitor Source to the Alt Spk NOTE: Selecting 7.1 also alters the Group Cuts and
2 outputs. Solos, which will now affect the ALT2 Speaker Outputs.
This allows the additional ability to cut or solo individual
NOTE: ALT2 can be used as a third pair of stereo speakers when monitoring in surround sound.
monitors, however also supports eight outputs for 7.1
surround sound monitoring. Selecting 7.1 in the Monitor iMON - Routes the iMON input (top left corner of the
26
Control Room section) to the selected Speaker Outputs Outputs. The AFL bus is stereo, and soloing
via the Main Volume control. is non-destructive (solo does not affect the
Channel Direct Output or Main Mix Out signals).
SUM - Is a latching function, and allows multiple Monitor
Sources to be selected. When SUM is selected again, the »» PFL - A Pre-Fader Listen signal will be
Monitor Source will revert to the last selected source. sent from the soloed Channel or Monitor
path to the PFL bus and on to the Speaker
RETRO OP - Routes the Main Mix (post Master Fader) Outputs. The PFL bus is mono, and soloing
through the main Retro Mix stage (LO1166) to the Main is non-destructive. The PFL Level Control is
Output & the Control Room section. directly above the Control Room Volume.
MDRN OP - Routes the Main Mix (post Master Fader) »» SIP - A Solo button will simply cut all other
through the main Modern Mix stage (transformerless) to signals which have neither their solo isolate
the Main Output & the Control Room section. mode activated, or been soloed themselves.
Soloing is destructive (Channel Direct
MON MIX - Routes the Monitor Mix to the Main Output & Outputs and Mix Outputs are Cut).
the Control Room section.
»» SIF - An After Fader Listen signal will be sent
AUX 1, AUX 2, AUX 3 and AUX A, AUX B buttons route from the selected Channel or Monitor path to
the respective send to the selected Speaker Outputs via the AFL bus and on to the Speaker Outputs.
the Master Aux control and the Main Volume control. The Main Mix is padded 10dB and added to
the AFL bus. Soloing is non-destructive.
Control Room LINK - Links the Channel path and Monitor path Solos.
Headphones
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
The Control Room Headphone Output (HP) is located operate independently.
directly above the Main Volume Control. The level control
Talkback and Listen Mic

adjacent to it effects the output level of the headphone
and the PFL bus.
CRM HP - Feeds the currently selected Monitor Source to The built-in TALKBACK microphone is accessed here.
the Control Room Headphones. Talkback can be fed to the Auxiliary Sends, Cues, two
Headphone Outputs, and Studio Loudspeakers. When
HP1 - Routes Headphone Output 1 to the Control Room Talkback is activated, DIM is automatically engaged.
Headphones.
»» AUX - Feeds Talkback to Auxiliary
HP2 - Routes Headphone Output 2 to the Control Room Outputs 1, 2, 3, A and B.
Headphones.
»» HP1 & HP2 - Feeds Talkback to
PFL - Feeds the PFL bus to the Control Room Headphone Send 1 or 2 via the
Headphones. respective Headphone Send Level.
Solo
»» CUE - Routes Talkback to both Headphone
Sends 1 & 2 via their level controls.
The following buttons effect soloing globally. There »» SLS - Routes Talkback to the Studio
are four global Solo Modes available on the Series 75 Loudspeakers via the SLS Level Control.
console. After-Fader Listen, Pre-Fader Listen, Solo In
Place, and Solo In Front. LEDs in the Solo Modes section The LISTEN MIC is an extra input designed for a
light to display which of the four modes are active at any dedicated studio to control room communication
one time. All buttons other than Solo Clear are recallable. microphone (dynamic only). The rotary control labeled
LISTEN MIC sets the level of this input. The button
SOLO CLEAR - Clears all active Solos on the console. labeled LISTEN, situated directly below, sends the signal
to the Speaker Outputs cutting the currently selected
SOLO MODE - Cycles through the four Solo Modes. Monitor Source.
After-Fader Listen (AFL), Pre-Fader Listen (PFL), Solo In
Place (SIP), and Solo In Front (SIF). STATUS LOCK - Locks out the CONSOLE MODE
buttons, CHANNEL MODE buttons (other than PAN),
»» AFL - A Solo button will send an After Fader OSC to GRPS/MAIN MIX, and the SIP SOLO MODE.
Listen signal from the soloed Channel or Monitor
path to the AFL bus and on to the Speaker
27
This prevents any destructive functions from effecting the
Main Mix Output or Channel Direct Outputs.
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 pre-
fader, 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
Insert Points on each 2081 Module default post-EQ. A back into the Channel Bin Motherboard.
quick jumper change on the Channel PCB will move it
pre-EQ. 9. Replace both hex screws before powering up.
Modification 2 -
Additional Modules can be purchased and installed if
there is still room in your console chassis.
Before completing either of the following modifications Installing Additional

Modules
make sure the power supply and interfaces are switched
off, and have been off for at least 1 minute.
Modification 1 - Insert
1. Double check the power supply is off.
Point Post/Pre EQ
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 4. Place the Module(s) carefully and firmly
top and bottom of the 2081 Module. into the Channel Bin Motherboard. This
should provide a satisfying click…
3. The Modules are attached to the Channel
Bin Motherboard beneath them, firmly grip 5. Fit both hex screws before powering up.
the Aux A/B Pan Control and the Monitor
Path Pan Control. Carefully remove 6. Make sure the correct size blank panels
the Module from the Channel Bin. have been ordered and are refitted to
protect the console from dust etc.
4. Find the area on the Module PCB that
is indicated in the image below. 7. On power up, the console will recognise the
additional modules and update the SMD chip to
5. Three jumpers indicated J601, J602 the current motherboard version if necessary.
and J603 need to be moved.
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
Title: 2081 Module Block Diagrams
Size: A3 Number: N2081 Revision: A
File:
PFL
DAW 10468 Mic Stage 1 Pre Ins Ins Bus Sw

PAD Rtn Snd
17-41db
Line ø PAD Channel Pre to Meter
I/P Tfmr Osc

+48v
Mic Stage 2 Pre Line Amp 10468 Cut odd
ALTERNATE 1081 EQ
Mic PAD
Block Diagrams
+18db INSERT
HPF POSITION Panpot To Bussing (retro)
(PCB
DI Jumper)
+/- 10db TREB MF 2 MF 1 BASS
BA283 I/P Tfmr even
Trim
Direct Out
Fader
To Meter
Bus Switching
Channel Pre 1 +
2 L Modern L, R
-
Channel Post 3
AUX AL Modern Mix Busses Panpot
Monitor Pre AR
+
BL Fader Swap R Modern AFL, L,R
Monitor Post BR -
Channel Post to Aux

Bus Switching
30
Monitor Post to Aux +
L Modern L, R
Line Amp -
DAW
Panpot
Line +
BA283 Monitor Level R Modern AFL, L,R
-
PFL
Bus Sw
Channel & Input Block Diagram
Monitor Pre to Meter

Title: Channel Module Block Diagrams
Size: A3 Number: Group Amps Revision: A
File:
DAW Playback
Osc & Talkback To Meter
Group Amps
Insert Return
10468 Bus Amp

Balance Bus Drive
DAW Play Buffer To PFL
I/P Tfmr BA283

Balance Bus Drive
Internal Trim Bus Amp LO1166 CW To MIX

Panpot
Balance Bus Drive
Bus Trim DAW Bus Relay Fader Fader Buffer

Osc Relay BA283 O/P Tfmr Buffer To MIX
Balance Bus Drive
31
To AFL
Balance Bus Drive
Group Out (balanced)

Stem Output To AFL
Insert Send
PFL
Group Mix Bus (balanced)

Local Mix L
Local Mix R
AFL L
AFL R
Group Mix Bus 1 Mix Busses

Title: Master Section Block Diagrams
Size: A3 Number: Stereo Revision: A
File:
10468 Bus Amp
I/P Tfmr BA283
10468 Bus Amp
I/P Tfmr BA283
Left
Right
Voltage Mix Busses
Insert
L L
Osc
CW LO1166
Line Amp
Osc to Mix
Retro O/P L
Local Mix Buffer Bal Out
Bus Amp BA283

Insert In Bal Buffer O/P Tfmr
2254 In 2254 Out
Fader
2254 Modern O/P L
Stereo Mix & Outputs
BA283
Osc Bal Buffer
To Meter & HP To CR Mon
CW LO1166
Line Amp
Osc to Mix
Retro O/P R
Local Mix Buffer Bal Out
Bus Amp BA283

Insert In Bal Buffer O/P Tfmr
2254 In 2254 Out Fader
32
2254 Modern O/P R
BA283
Bal Buffer
R R To Meter & HP
Left
Right
Insert
Current Mix Busses
Local Mix L
Local Mix R
CW
Bus Amp
Monitor Mix Out L

BA283
Mon Fader
Bal Buffer
Monitor Mix
To Meter & CR Mon & HP

CW
Bus Amp
Monitor Mix Out R

BA283
Mon Fader Bal Buffer
Left Mon
Right Mon
Current Mix Busses
From Rev Return 1-4
From Rev Return 4-8
Local Mix Busses

Title: Master Section Block Diagrams
Size: A3 Number: CR Monitor Revision: A
File:
MiniJack In L
Unbal In
Main Volume Control
MiniJack In R DC Control
CW
I-Mon
Unbal In Level DC Control
CW
Aux 1 Post Fade L Dim
Aux 1 Post Fade R

Aux 3
CR Monitor
Aux 2 Post Fade L

Dim
AFL L
Aux 2 Post Fade R
Aux 2
To SLS
Cut Switches
Aux 3 Post Fade L PCB Right
CR Sel L Main L
AFL
Aux 3 Post Fade R CW
Aux 3 AFL Level CW Buffer
Mix Amp
Level PCB Right
Aux A Post Fade L Main R
Mix Amp
Aux A Post Fade R Buffer
To SLS
Aux A Mono L-R Swap
CR Sel R Alt L
Aux B Post Fade L CW
AFL Level CW Buffer
Mix Amp AFL
Aux B Post Fade R Level
Aux B Alt R
Mix Amp
Monitor Sources
Buffer
2 TRACK 1 L
Alt 2 L
Bal In AFL R
Buffer
2 TRACK 1 R
2Trk1 Alt 2 R
Bal In
Buffer
2 TRACK 2 L
Alt 2 C
Bal In
Buffer
33
2 TRACK 2 R
2Trk2 Alt 2 LFE
Bal In
Buffer
Mon Mix L
Alt 2 LS
Mon Mix R
Mon Mix Buffer
Mix Retro L Alt 2 RS
Mix Retro R Buffer

Mix
Alt 2 LC
Mix Modern L
Buffer
Mix Modern R
Mix Alt 2 RC
Buffer
PCB Right
Listen
Surround Input
PCB Right
Listen Mic Surround Input
CW
Surround Input
Pre & Limiter
Listen Level Surround Input
Surround Input
Listen mic overrides all other sources
Surround Input
Surround Input
Surround Input
CW CW CW CW CW CW CW CW
Main Volume Control

Size: A3 Number: Aux HP Rets Revision: A
File:
Bus Amp
Reverb Return 1 (2,3,4 Identical)
To CR Mon
Bal In Unbal Out CW
Aux 1 Out Left L
CW CW To Local Stereo Mix Bus
Bus Amp Talkback To CR Mon Bal In Buffer Buffer R
Level Bal Buffer Level Balance
To Mix A
Aux A L Out
Rev Ret 1
Bal In Unbal Out CW
Bal Buffer L
Balance
Balanced Outputs
Talkback Level Buffer Aux A R Out Bal Buffer
Right To Mix B To Mon Mix Bus
Aux 1 (2,3,4 Identical

Aux A (Aux B Identical
Bal Buffer CW CW
To CR Mon Bal In Buffer Buffer R
Level Balance
Current Mix Busses
Bal Buffer
Bal Buffer
To HP1
Bal Buffer
To HP2
Bal Buffer
Headphone 1
Rev 2 Left CW CW
Rev 3 Left HP Amp
Rev 4 Left
Mix Amp Balance
Aux 2
Aux 3
Aux B Left Talkback
St Mix Left
Mon Mix Left
CR Mix Left
HP1 Bal Output
34
Rev 2 Left CW CW
Rev 3 Left HP Amp
Rev 4 Left
Mix Amp Balance
Aux 2
Aux 3
Aux B Left Talkback
St Mix Left
Mon Mix Left
CR Mix Left
HP1 Bal Output
Rev 2 Left CW CW
Rev 3 Left HP Amp
Mix Amp
Rear Connections
Rev 4 Left Balance

Aux 2
Aux 3
Aux B Left Talkback
St Mix Left
AUX Headphone & Stereo Returns
Mon Mix Left

CR Mix Left
HP2 Bal Output
Rev 2 Left CW CW
Rev 3 Left HP Amp
Mix Amp Balance
Rev 4 Left
Aux 2
Aux 3
Aux B Left Talkback
St Mix Left
Mon Mix Left
CR Mix Left
HP2 Bal Output
Headphone 2
Size: A3 Number: Other Stuff Revision: A
File:
AFL Amps (Left shown, Right Identical) Oscillator

Ancillary
PCB Left
10468 Bus Amp Internal Trim Line Amp
Osc to Mix Oscillator
To CR Mon To Mix
Sine Cal Trim
Osc
I/P Tfmr BA283 Buffer Osc to Direct Outs Osc & TB
CW
To Channels
Voltage Mix Busses AFL L

Pink Level Cal
Noise Osc to Group Osc & TB
To Groups
Bus Amp
BA283
Current Mix Busses AFL L
35
Studio Loudspeaker (SLS) Talkback
Talkback
PFL to SLS
Direct Outs Osc & TB
Talkback On
CR Mon Pre Fade L To Slate
Ext Groups Osc & TB
CW Talkback
SLS Ext In L Level SLS Left
CW
Pre & Limiter HP1 L&R Talkback
Bal Out Mic
To HP1
PFL to SLS HP Level HP2 L&R
Talkback On To HP2
CR Mon Pre Fade R
Ext Aux 1-3,A,B Talkback
CW
SLS Ext In R Level SLS Left To Aux
SLS Talkback
To SLS
Bal Out
d c
e
b
Dimensions
»» a: 45cm b: 99cm c: 30.7cm d: 70.5cm e: 12cm
32 Channel Frame
»» Width: 167cm (65.75 in)
»» 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)
16 Channel Frame
»» Width: 102cm (40.16 in)
»» Depth: 99cm (38.98 in)
36
Recall Sheets
The following pages contain printable Recall sheets for the Custom Series 75.
37
Session: Date:
Notes: 10 800mS 1.5S
0
-10 400mS AUTO
CAL 1K GRPS PFL EXT

100 10K
60 16K
40 PINK
+10
OSC MAIN DIR SLS
-20 LEVEL 10 MIX SLS 10
0
0
0
0
COMP IN
0 20
+12 200mS 800mS 3:1

2:1 4:1
100mS AUTO
+8 +16 1.5:1 6:1
0
0
0
0
0
0
0
0
0
0
AUX SEND TRIMS
+4 +20
2254
HP 2 HP 2 HP 2 HP 2

10 800mS 1.5S
0
-10 400mS AUTO
HP 1 HP 1 HP 1 HP 1
10 10 10 10
0
0
0
0
0
0
0
0
+10
-20 MIX MIX MIX MIX MIX MIX MIX MIX
COMP IN
0 20
ISO ISO ISO ISO
+12 200mS 800mS 3:1
2:1 4:1
100mS AUTO
+8 +16 1.5:1 6:1

MIX MIX
+4 +20
LIMIT ON FAST ATTACK CR AUX 3 AUX B MAIN CR AUX 3 AUX B MAIN
2254 MON MIX MON MIX
LIMIT LEVEL LIMIT RECOVERY COMP RATIO LEFT
1 2 3 4 5 6 7 8
10 L BAL R 10 L BAL R
0
0
0
0
MAIN FADER GRP CHANNEL METERS CONSOLE MODES (HOLD)
0 PAN
MIX SWAP VIEW
CH MON VU CH MON
DIR FADERS PEAK PAN RETRO
INPUT INPUT
PEAK SIG
 LED LED RCL ESC
AUX REV FADER MON MIX
ST MON -6dB SWAP
PFL RET MAIN INS
 STORE << >> MASTER METERS CHANNEL MODES (HOLD)

AUTO
CRM Hp1 Hp2

HP PFL AUX B
iMON HP + PFL

0 0 0 0 0 0 0 0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0

GROUP SEND TRIMS

OP OP MIX AUX 2
MONITOR SOURCE
0 111/2
DAW DAW DAW DAW DAW DAW DAW DAW

MIC
SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO MAIN ALT1 ALT2
ISO ISO ISO ISO ISO ISO ISO ISO
AFL PFL SIP SIF
SURROUND SOLO TALKBACK
LCUT MONO RCUT SOLO AUX HP1 LISTEN RED

SOLO SOLO SOLO SOLO SOLO SOLO SOLO SOLO MODE LIGHT
SOURCE IN MONO
SOLO STATUS
CUT CUT CUT CUT CUT CUT CUT CUT CUT CAL SWAP DIM CLEAR LINK CUE HP2 SLS
LOCK
1 2 3 4 5 6 7 8
GROUP RETURNS
1 2 3 4 5 6 7 8 MAIN MIX MONITOR MIX

GROUP RETURNS
38
Session: Date:
Notes:
0 0 0 0 0 0 0 0
O O O O O O O O
30 30 30 30 30 30 30 30
24 36 -10 TRIM 10 24 36 -10 TRIM 10 24 36 -10 TRIM 10 24 36 -10 TRIM 10 24 36 -10 TRIM 10 24 36 -10 TRIM 10 24 36 -10 TRIM 10 24 36 -10 TRIM 10
18 42 18 42 18 42 18 42 18 42 18 42 18 42 18 42
12 48 +48V 12 48 +48V 12 48 +48V 12 48 +48V 12 48 +48V 12 48 +48V 12 48 +48V 12 48 +48V

6 54 6 54 6 54 6 54 6 54 6 54 6 54 6 54
0 60 0 60 0 60 0 60 0 60 0 60 0 60 0 60
66 66 66 66 66 66 66 66
MIC/DI GAIN MIC/DI GAIN MIC/DI GAIN MIC/DI GAIN MIC/DI GAIN MIC/DI GAIN MIC/DI GAIN MIC/DI GAIN
INPUT INPUT INPUT INPUT INPUT INPUT INPUT INPUT
MIC DI MON MIC DI MON MIC DI MON MIC DI MON MIC DI MON MIC DI MON MIC DI MON MIC DI MON
100 100 100 100 100 100 100 100
50 150 50 150 50 150 50 150 50 150 50 150 50 150 50 150
25 300 25 300 25 300 25 300 25 300 25 300 25 300 25 300
AUX B AUX B AUX B AUX B AUX B AUX B AUX B AUX B
AUX A AUX A AUX A AUX A AUX A AUX A AUX A AUX A
AUX3 AUX3 AUX3 AUX3 AUX3 AUX3 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 OFF OFF OFF OFF OFF OFF OFF

15 - GAIN + 15 - GAIN + 15 - GAIN + 15 - GAIN + 15 - GAIN + 15 - GAIN + 15 - GAIN + 15 - GAIN +
10 10 10 10 10 10 10 10
6.8 6.8 6.8 6.8 6.8 6.8 6.8 6.8
4.7 4.7 4.7 4.7 4.7 4.7 4.7 4.7

3.3 3.3 3.3 3.3 3.3 3.3 3.3 3.3

1.5 - GAIN + 1.5 - GAIN + 1.5 - GAIN + 1.5 - GAIN + 1.5 - GAIN + 1.5 - GAIN + 1.5 - GAIN + 1.5 - GAIN +
8.2 1.8 8.2 1.8 8.2 1.8 8.2 1.8 8.2 1.8 8.2 1.8 8.2 1.8 8.2 1.8
6.8 2.2 HI Q 6.8 2.2 HI Q 6.8 2.2 HI Q 6.8 2.2 HI Q 6.8 2.2 HI Q 6.8 2.2 HI Q 6.8 2.2 HI Q 6.8 2.2 HI Q
5.6 2.7 5.6 2.7 5.6 2.7 5.6 2.7 5.6 2.7 5.6 2.7 5.6 2.7 5.6 2.7
4.7 3.3 4.7 3.3 4.7 3.3 4.7 3.3 4.7 3.3 4.7 3.3 4.7 3.3 4.7 3.3
3.9 3.9 3.9 3.9 3.9 3.9 3.9 3.9

1.2k 270 1.2k 270 1.2k 270 1.2k 270 1.2k 270 1.2k 270 1.2k 270 1.2k 270
1k 330 HI Q 1k 330 HI Q 1k 330 HI Q 1k 330 HI Q 1k 330 HI Q 1k 330 HI Q 1k 330 HI Q 1k 330 HI Q

820 390 820 390 820 390 820 390 820 390 820 390 820 390 820 390
680 470 680 470 680 470 680 470 680 470 680 470 680 470 680 470
560 560 560 560 560 560 560 560

56 56 56 56 56 56 56 56
100 100 100 100 100 100 100 100
180 180 180 180 180 180 180 180

330 330 330 330 330 330 330 330
INS EQ INS EQ INS EQ INS EQ INS EQ INS EQ INS EQ INS EQ
LINE LINE LINE LINE LINE LINE LINE LINE
I SEL I SEL I SEL I SEL I SEL I SEL I SEL I SEL

S S S S S S S S
O O O O O O O O
MON 10 MON 10 MON 10 MON 10 MON 10 MON 10 MON 10 MON 10
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
SIG SIG SIG SIG SIG SIG SIG SIG
RETRO RETRO RETRO RETRO RETRO RETRO RETRO RETRO
L PAN R SWAP L PAN R SWAP L PAN R SWAP L PAN R SWAP L PAN R SWAP L PAN R SWAP L PAN R SWAP L PAN R SWAP
SOLO CUT SOLO CUT SOLO CUT SOLO CUT SOLO CUT SOLO CUT SOLO CUT SOLO CUT
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
0
39
Wiring Diagrams
XLR Connectors
1 2
3
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
7.1 Inputs Surround Spk (Alt2)
Naturally, the following labels are just a guide. Labels As mentioned previously, the following labels are just
have not been added to the console, maintaining a guide. Labels have not been added to the console,
consistency between the 7.1 input wiring and maintaining consistency between the 7.1 input wiring
the Surround Spk (Alt2) output wiring is the main and the Surround Spk (Alt2) output wiring is the main
consideration. consideration.
Pin # Connection Cable # Pin # Connection Cable #
1 LFE + 8 1 LFE + 8
14 LFE - 14 LFE -
2 0V 2 0VS
1 1
15 Rs + 7 15 Rs + 7
14 14
8
8
2 3 Rs - 2 3 Rs -
15 15
16 0V 16 0VS
3 3
7
7
16 4 Ls + 6 16 4 Ls + 6
4 17 Ls - 4 17 Ls -
17 17
6
6
5 5 0V 5 5 0VS
18 18 R+ 5 18 18 R+ 5
6 6
5
5
19 6 R- 19 6 R-
7 19 0V 7 19 0VS
20 20
7 Rc + 4 7 Rc + 4
4
4
8 8
21 20 Rc - 21 20 Rc -
9 9
8 0V 8 0VS
3
22 22
10 21 C+ 3 10 21 C+ 3
23 23
9 C- 9 C-
2
11 11
24 22 0V 24 22 0VS
12 10 Lc + 2 12 10 Lc + 2
1
25 25
13 23 Lc - 13 23 Lc -
11 0V 11 0VS
24 L+ 1 24 L+ 1
12 L- 12 L-
25 0V 25 0VS
13 Chassis 13 Chassis
41
Reverb (Stereo) Returns Aux Sends
1 Ret+4R 8 1 Osc+ 8
14 Ret-4R 14 Osc-
2 0VR 2 0V
1 1
15 Ret+4L 7 15 AUX Out BR+ 7
14 14
8
8
2 3 Ret-4L 2 3 AUX Out BR-

15 15
16 0VR 16 0V
3 3
7
7
16 4 Ret+3R 6 16 4 AUX Out BL+ 6

4 17 Ret-3R 4
17 AUX Out BL-
17 17
6
6
5 5 0VR 5 5 0V
18 18 Ret+3L 5 18
18 AUX Out AR+ 5
6 6
5
6 Ret-3L
5
19 19 6 AUX Out AR-

7 19 0VR 7 19 0V
20 20
7 Ret+2R 4
4
4
8 8 7 AUX Out AL+ 4

21 20 Ret-2R 21 20 AUX Out AL-
9 9
8 0VR
3
3
22 22 8 0V
10 21 Ret+2L 3 10 21 AUX Out 3+ 3
23 9 Ret-2L 23
2
9 AUX Out 3-
2
11 11
24 22 0VR 24 22 0V
12 10 Ret+1R 2 12
10 AUX Out 2+ 2
1
1
25 25
13 23 Ret-1R 13 23 AUX Out 2-
11 0VR 11 0V
24 Ret+1L 1 24 AUX Out 1+ 1
12 Ret-1L 12 AUX Out 1-
25 0VR 25 0V
Speakers SLS, Red Light, TB,

Pin #
1
Connection
Mon Mix Out R+
Cable #
8
Listen
14 Mon Mix Out R-
2 0V The Studio Red Light is to be connected to Channel 5,
1
14
15 Mon Mix Out L+ 7 taking into consideration that this circuit is not suitable for
mains power and should be run at 1 Amp 24 Volts.
8
2 3 Mon Mix Out L-

15
16 0V
3
7
16 4 6 Pin # Connection Cable #

4 17 1 PFL Out+ 8
17
14 PFL Out-
6
5 5 0V
18 18 5 1 2 0V
6 14 15 Listen Mic+ 7
5
6
8
19 2
7 19 0V 15 3 Listen Mic-
20 3
7 Alt Spk1 R+ 4 16 0V
4
8 16
21 20 Alt Spk1 R- 4 Talkback Sw1 6
4
9 17 17 Talkback Sw2
8 0V
3
22 5
10 21 Alt Spk1 L+ 3 5 0V
18
23 9 Alt Spk1 L- 6 18 Red Light1 5
2
11 19
24 22 0V 6 Red Light2
7
12 10 Main Spk R+ 2 20 19 0V
1
25 8
23 Main Spk R- 7 Ext to SLS R+ 4
13 21
11 0V 9 20 Ext to SLS R-
3
24 Main Spk L+ 1 22 8 0V
10
12 Main Spk L- 23
21 Ext to SLS L+ 3
2
25 0V 11 9 Ext to SLS L-
24
13 Chassis 22 0V
12
1
25 10 SLS R+ 2
13
23 SLS R-
11 0V
24 SLS L+ 1
12 SLS L-
25 0V
13 Chassis
42
Headphones Mix Outs & 2254
Pin # Connection Cable #
Note: Unbalanced outputs are able to drive up to 10 1 2254 In R+ 8
headphones without the need for an external headphone 14 2254 In R-
amp, the balanced outputs will need to be connected to a 2 0V
headphone amp. 1
14
15 2254 In L+ 7
8
2 3 2254 In L-
Pin # Connection Cable # 15
16 0V
3
7
1 8 16 4 2254 Out R+ 6
14 4 17 2254 Out R-
17
2 0V
6
5 5 0V
1
14 15 HP2 R 7 18 18 2254 Out L+ 5
8
2 6
3 HP2 L
5
19 6 2254 Out L-
15
3
16 0VHP 7 19 0V
7
20
16 4 HP1 R 6 7 Retro R+ 4
4
4 8
17 HP1 L 21 20 Retro R-
17
6
5 5 0VHP 9
8 0V
3
18 22
18 5 10 21 Retro L+ 3
6
5
19 6 23 9 Retro L-
2
7 11
19 0V 24 22 0V
20
4
8 7 HP2 R+ 4 12 10 Modern R+ 2
1
21 25
20 HP2 R- 23 Modern R-
9 13
3
22 8 0V 11 0V
10 21 HP2 L+ 3 24 Modern L+ 1
23
2
9 HP2 L- 12 Modern L-
11
24 22 0V 25 0V
12
10 HP1 R+ 2
1
25 13 Chassis
13 23 HP1 R-
Group Outputs/Insert
11 0V
24 HP1 L+ 1
Sends
12 HP1 L-
25 0V
13 Chassis
Mix Insert, 2 Trk 1,2

1 Grp +8 8
14 Grp -8
2 0V
Pin # Connection Cable # 1
15 Grp +7 7
1 2Trk2 R+ 8 14
8
2 3 Grp -7
14 2Trk2 R-
15
16 0V
1 2 0V 3
7
14 16 4 Grp +6 6
15 2Trk2 L+ 7
8
2 4 17 Grp -6
15 3 2Trk2 L- 17
6
5 5 0V
3 16 0V
7
16 18 18 Grp +5 5
4
4 2Trk1 R+ 6 6
5
19 6 Grp -5
17 17 2Trk1 R-
6
5 7 19 0V
5 0V 20
18 7 Grp +4 4
4
6 18 2Trk1 L+ 5 8
5
19 21 20 Grp -4
6 2Trk1 L- 9
7 8 0V
3
20 19 0V 22
4
8 10 21 Grp +3 3
7 Ins Ret R+ 4
21 23 9 Grp -3
2
9 20 Ins Ret R- 11
22 0V
3
22 24
8 0V
10 12 10 Grp +2 2
1
23 21 Ins Ret L+ 3 25
23 Grp -2
2
11 9 Ins Ret L- 13
24 11 0V
22 0V
12 24 Grp +1 1
1
25 10 Ins Send R+ 2
13 12 Grp -1
23 Ins Send R-
25 0V
11 0V
13 Chassis
24 Ins Send L+ 1
12 Ins Send L-
25 0V
13 Chassis
43
Stem Outputs
1 Stem +8 8
14 Stem -8
2 0V
1
15 Stem +7 7
14
8
2 3 Stem -7
15
16 0V
3
7
16 4 Stem +6 6
4 17 Stem -6
17
6
5 5 0V
18 18 Stem +5 5
6
5
19 6 Stem -5
7 19 0V
20
7 Stem +4 4
4
8
21 20 Stem -4
9
8 0V
3
22
10 21 Stem +3 3
23 9 Stem -3
2
11
24 22 0V
12 10 Stem +2 2
1
25
13 23 Stem -2
11 0V
24 Stem +1 1
12 Stem -1
25 0V
13 Chassis
DAW/Ins Return
1 DAW +8 8
14 DAW -8
2 0V
1
15 DAW +7 7
14
8
2 3 DAW -7
15
16 0V
3
7
16 4 DAW +6 6
4 17 DAW -6
17
6
5 5 0V
18 18 DAW +5 5
6
5
19 6 DAW -5
7 19 0V
20
7 DAW +4 4
4
8
21 20 DAW -4
9
8 0V
3
22
10 21 DAW +3 3
23 9 DAW -3
2
11
24 22 0V
12 10 DAW +2 2
1
25
13 23 DAW -2
11 0V
24 DAW +1 1
12 DAW -1
25 0V
13 Chassis
44
Channel Bin Rear Panel
Channel Insert Sends DAW Inputs
1 Snd +8 8 1 DAW +8 8
14 Snd -8 14 DAW -8
1 2 0V 1
2 0V
14 15 Snd +7 7 14 15 DAW +7 7
8
8
2 2
3 Snd -7 3 DAW -7
15 15
3 16 0V 3 16 0V
7
7
16 16
4 Snd +6 6 4 DAW +6 6
4 4
17 17 Snd -6 17 17 DAW -6
6
6
5 5 5 0V
5 0V
18 18
6 18 Snd +5 5 6 18 DAW +5 5
5
5
19 19 6 DAW -5
6 Snd -5
7 7
20 19 0V 20 19 0V
4
4
8 7 Snd +4 4 8 7 DAW +4 4
21 21
9 20 Snd -4 20 DAW -4
9
3
3
22 8 0V 22 8 0V
10 10
21 Snd +3 3 21 DAW +3 3
23 23
2
2
11 9 Snd -3 11 9 DAW -3
24 24
22 0V 22 0V
12 12
1
1
25 10 Snd +2 2 25 10 DAW +2 2
13 13 23 DAW -2
23 Snd -2
11 0V 11 0V
24 Snd +1 1 24 DAW +1 1
12 Snd -1 12 DAW -1
25 0V 25 0V
Channel Insert Returns Line Inputs

1 Ret +8 8 1 Line +8 8
14 Ret -8 14 Line -8
2 0V 2 0V
1 1
14 15 Ret +7 7 14 15 Line +7 7
8
2 2 3 Line -7
3 Ret -7
15 15
3 16 0V 3 16 0V
7
16 16 4 Line +6 6
4 Ret +6 6
4 4
17 17 Ret -6 17 17 Line -6
6
5 5 0V 5 5 0V
18 18
6 18 Ret +5 5 6
18 Line +5 5
5
19 6 Ret -5 19 6 Line -5
7 7
19 0V 19 0V
20 20
4
4
8 7 Ret +4 4 8 7 Line +4 4
21 21
20 Ret -4 20 Line -4
9 9
3
3
22 8 0V 22 8 0V
10 10 21 Line +3 3
21 Ret +3 3
23 23
2
2
11 9 Ret -3 11 9 Line -3
24 24 22 0V
22 0V
12 12
1
1
25 10 Ret +2 2 25 10 Line +2 2
13 23 Ret -2 13 23 Line -2
11 0V 11 0V
24 Ret +1 1 24 Line +1 1
12 Ret -1 12 Line -1
25 0V 25 0V
45
Direct Outputs
1 DIR +8 8
14 DIR -8
2 0V
1
15 DIR +7 7
14
8
2 3 DIR -7
15
16 0V
3
7
16 4 DIR +6 6
4 17 DIR -6
17
6
5 5 0V
18 18 DIR +5 5
6
5
19 6 DIR -5
7 19 0V
20
7 DIR +4 4
4
8
21 20 DIR -4
9
8 0V
3
22
10 21 DIR +3 3
23 9 DIR -3
2
11
24 22 0V
12 10 DIR +2 2
1
25
13 23 DIR -2
11 0V
24 DIR +1 1
12 DIR -1
25 0V
13 Chassis
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
Each EQ band contains an amplifying stage. The mic pre way to truly know is to listen. Circuitry wise, the sound
contains two, as does the HPF. The original Neve BA338 is largely due to the BA283 output amplifier and L01166
amplifying stages have been tweaked to improve their output transformer. These two components, when used
drive ability and stability versus temperature, resulting in together, have a significant sonic effect.
reduced distortion and approximately 9dB more dynamic
range. As a further improvement to the original designs, Care has been taken to recreate the renowned Classic
each section of the 2081 channel module has its own Output Stage for the Series 75 Console. The BA283X
power supply filtering. output stage, single ended, class A circuitry with a
gapped core transformer, and the L01166 output
Channel Bin
transformer are as it was originally.
All capacitors in the audio signal path (Retro & Modern)

Front on, the Channel Bins of the Custom Series 75 are are WIMA polypropylene film or Rubycon ZLH electrolytic
almost indiscernible. However each group of eight 2081 chosen for long life and superior sonic performance. All
channel modules are housed in an aluminum casing relays, switches and connectors in the audio signal path
known as a 'bin'. Beneath this are the individual Channel have gold plated contacts.
Bin motherboards. From the rear, each bin can be seen
Stem Outputs
clearly. Depending on the chassis size, there may be up
to eight Channel Bins.
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
Current Summing is a modern solution to the together for a complete stereo mix. The Series 75 Stem
'deficiencies' of Voltage Summing. No matter how many Outputs are post-fader, and may be used to record just
signals you feed to the mix bus of a Current Summing the sub-grouped signals.
circuit, the voltage on the bus will remain at 0 Volts.
Voltage Summing
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 In the 1970s Voltage Summing was the only way to
to achieve balanced virtual earth mixing as used in sum multiple signals onto a bus. Put simply, the signal
this console. Due to the virtual earth, this design does level on the mix bus drops as more signals are fed to
not require an input or output transformer. A Current it, typically to around -30dbu. Further, the mix bus must
Summing Mix Bus does not colour the audio. be designed from the outset to have a fixed number of
sources, and the impedance and bus level depends on
Modern Output Stage

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 Modern Output Stage of the Custom Series 75 has the signal passes through the mix amp it hits an output
been designed for sonic transparency and excellent transformer. The output transformer is where much of the
technical specification. It's a transformer-less balanced sonic colour comes from. In effect, a Voltage Summing
floating output, that can drive balanced or unbalanced Mix Bus colours the audio in a way that is pleasing to our
professional grade studio equipment. All op amps are ear.
LM4562 by National Semiconductor, generally regarded
as the best sounding opamp available.
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

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revision: 2.

Stereo busses are implemented in both classic (voltage

The 2081 inline channel module features a blend of

DAW - Digital Audio Workstation.

Voltage Summing - In the 1970s Voltage Summing was

Current Summing - Current Summing is a modern

The following section details the console connections.

Health & Safety Connections

Surround Spk (Alt2)

MIX OUT, 2254 8Trk Play/Ins Ret

Connect these to available interface inputs or a patch bay

Headphones DAW/Ins Return

Mix Insert, 2TRK 1,2

Inserts DAW In Line In Direct Out

Insert Sends/Insert Direct Out

1. Make sure you have a large number

3. Now select RETRO in the Console Modes

The flexibility of the Custom Series 75 becomes apparent

The Channel Retro can be engaged globally in the

If RETRO is not selected on the Channel module, the

This then feeds the Main Mix Fader. Selecting MODERN

DAW/Line Input [Ins-pre] 2081 EQ

routes the Main Mix Fader via an IC to the Modern

Each inline 2081 Channel Module has two

independent paths, CHANNEL path and FADER

MONITOR path. Multiple inputs can be

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 25 300

used to listen to the return from your DAW AUX B

or effects processors. L PAN

You will notice that the multiple inputs for

the top of the module using INPUT, when

The Channel path output fader is at the +3 CLIP +3 CLIP

Retro button). The controls for the Monitor

path can also be found at the bottom of

the module, just above the Channel Path OFF

The EQ found on the 2081 Channel Module

1073, with the functionality of a 1081. The

output amp is based on the BA283, single I

ended, class A circuitry with a gapped

core transformer, as used in the 1073 and SIG

2254 Compressor. The recreation of the PAN

circuitry sees the same sonic qualities

as the original, heralded as eminently

Fader Swap will swap the Channel Path Fader with

Below the Channel Meter are the Channel Path

The INS and EQ controls at the bottom of the 2081 EQ,

The Master section of the Custom Series

patchable) mono 2254 compressors, the 2081

+1 +12 +1 +12 +1 +12 +1 +12 +1 +12 +1 +12 +1 +12 +1 +12

Channel Module routing options, eight Groups,

comprehensive monitoring, Listen Back and

-12 -12 -12 -12 -12 -12 -12 -12

-7 -16 -7 -16 -7 -16 -7 -16 -7 -16 -7 -16 -7 -16 -7 -16

Talkback controls, Headphone Sends, and an

-30 -30 -30 -30

analog Oscillator. There are also eight multiple

function bargraphs, two VU meters, a Phase

The Assign Section and Console Modes allow

CAL 1K GRPS PFL EXT

+12 200mS 800mS 3:1