Neve V Series Channel Modules - CML Audio

Neve V Series Channel Modules

For users not familiar with Neve V-Series channel modules – a brief outline of functions is provided below:

Multitrack Routing Matrix

  • The routing matrix offers 48-track routing with selection of any or all of buses 1-24 or 25-48 from each channel.
  • Panning is selectable between odd and even track sends.
  • Access is provided to the main outputs to facilitate extra mix inputs and effects returns through the monitor path during mixdown.
  • Track bouncing is easily achieved, sending the relevant multitrack return back to the routing matrix via the monitor path.
  • Routing to the 2-track outputs is automatically cancelled to prevent doubling of the monitoring signal level.
  • The Bounce signal can be processed by placing the equalisation and dynamics units in the monitor path.

Inputs

  • The Mic amp design offers low noise and low distortion at all signal levels.
  • The gains of the Mic and line inputs are adjusted on two continuously variable rotary controls providing a total range of -10dB to +70dB (in conjunction with -30dB PAD) for Mic and -10 to +10dB for line with centre detent.
  • The selected input can also be phase reversed.
  • Phantom power can be selected on/off on individual channels.
  • Patch free audio sub grouping is available as the highest priority input, allowing a group output signal to be processed as a channel signal before being re-routed.

Input Filters

  • These are 12dB/octave high and low pass filters, with frequency ranges from 31.5Hz to 315Hz and 7.5kHz to 18kHz respectively.
  • The filters can be switched into the channel path independently.

Dynamic Control (V3, VR, VRL and VX only)

  • Full limiter / compressor and gate/expander facilities are available with a fully flexible side chain (each of which can be individually switched in or out of circuit).
  • The gate / expander has rotary controls for a 50dB gate range, a 70dB threshold range, release from 30ms to 3s, switchable attack time and variable hysteresis.
  • Hysteresis makes the threshold level different for signals, which are rising or falling in level and allows precise triggering on the wanted signal while still allowing the correct amount of signal decay to pass.
  • The expander has a 2:1 expansion ratio.
  • Switched controls are provided for an external key input and invert (for ducking). The external key input is accessed from the patchbay.
  • The limiter/compressor has rotary controls for release times from 30ms to 3s with an end stop, a 50dB threshold range, a ratio of 1:1 to limiting and up to 30dB of gain make-up.
  • Attack time is program dependent with a switch for fast impulse response.
  • The Release control incorporates a switch for automatic programme dependent release.
  • ‘Anti pumping and breathing’ circuitry allows the unit to operate on the source musically whilst retaining absolute control over the dynamic range.
  • The equaliser module can be inserted into the side chain of the dynamics module for de-essing, etc.

Auxilaries

  • The eight auxiliary sends can be configured as eight mono sends with either the channel or monitor path as the signal source.
  • Each pair of sends can be switched to operate as a stereo aux with level and pan controls.
  • Each aux send has its own individual On / Off switch and Pre-fade / Postfade switch.
  • Operationally, the pre-auxiliaries send signals to the artists in the studio in track laying mode and some effects sends in mixdown.
  • The resource point for the two functions is arranged so that in track laying mode the signal is taken pre-cut to enable cut solos to be performed in the control room and still retain cue sends. In Mixdown mode the signal is taken post-cut so that the effects send is cut with the source.
  • In Mixdown mode the multitrack recorder is routed to the stereo buses via the large fader.
  • The secondary (monitor) signal path in the channel module is routed to the Multitrack routing matrix – allowing as many as 48 fully mixable extra auxiliary sends.

Inserts

  • Inserts can be positioned in either the channel or monitor path independently of the equaliser.
  • Pre-equaliser and pre-dynamics configuration is also possible.

Formant Spectrum Equalisers (V3, VR, VRL and VX only)

The unique sound of the Neve equaliser is the result of years of research and extensive studio experience.

  • The equaliser provides 4-band parametric equalisation, with overlapping frequency ranges.
  • The two mid-bands have variable controls for Q (from 0.5 to 9), gain (18dB cut and boost) and frequency.
  • The high and low frequency controls provide variable gain (18dB cut and boost) and frequency controls with switchable Q (either 0.71 to 2) and peaking / shelving characteristic.

Track Level Control

  • The track level signal can be controlled between -10dB and +10dB.
  • The channel signal can also be routed directly to the corresponding track send, avoiding the Multitrack routing matrix.
  • In this mode, signals from other channels cannot be routed to this track send.

Channel Status

  • Fader and status swaps can be achieved on an individual channel basis, overriding the global status controls on the channel facilities section.

Monitor Path Selectors

  • The monitor path selectors assign the module dynamics, insertion, equaliser and auxiliaries to the monitor signal path.
  • The channel post-fade output can be connected to the input of the monitor path, allowing additional effects sends to be set up via the Multitrack routing matrix.
  • The selector push buttons are grouped for easy viewing so that the signal structure of each module may be quickly assessed.

Monitor Path Switching

  • The console has a sophisticated monitoring system allowing monitoring freedom in the control room while the correct cue sends are retained.
  • The system works in conjunction with central facilities section.

Solo and Cut Facilities

  • The console has a sophisticated solo system with selectable momentary, interlocking and latching action push-buttons performing either in-place solo, or PFL or AFL type solos.
  • The two identical systems for the channel and monitor paths work regardless of fader swap.
  • The modules can be isolated from solo mute action to provide effects returns in both paths. Groups of large faders can be cut on a master basis by selecting one of two mute groups.
  • This action is always on the large fader regardless of positioning.

4-Track Routing Matrix

  • Selectable access to the main outputs for mixdown and simultaneous monitoring during recording is available from the 4 track routing push buttons with selectable pan between odd and even outputs.

Mic Inputs Specifications
Transformer balanced. Input Impedance – Greater than 1k Ω balanced.
Input Balance – Greater than 70dB @ 1kHz.
Input Gain Range – Continuously variable between -10dB and +70dB.

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