Rupert Neve 5060 Centerpiece: 24x2 Desktop Mixer - Manual (Page 8)

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turntables to the other Ext Inputs to be able to listen to reference material.
There are three pairs of speaker outputs which are selected by the monitor select, and controlled by the
monitor level rotary stepped attenuator. The switches are designed such that only one pair of speakers
may be on at a time. The Mon 3 switch however can be made to “latch” by holding the button for 2
seconds such that you may use Mon 3 at the same time as either Mon 1 or 2. This is useful for setting
up a mono or stereo subwoofer system, or as a way to pipe monitor signal into the cutting room or a
separate listening area.
In the “5059’s Mixing into a 5060” configuration, 32 separate mono channels can be fed into two 5059’s
for level, pan, and insert control (16 ch. for one 5059). You can create four stem mixes with the two
5059s, which can each have their own silk / texture settings and level of mix buss drive. These stems
can then be processed further using the inserts on channels 1-8, which can be returned to the return, or
in parallel to Ch. 9-24. They can also be run through processing via a patchbay between the 5059 line
outs and the 5060 inputs. You may still send an additional eight stems from the DAW through the DAC
and into the 5060 for the final analogue mix.
In the “5059’s Creating Auxes and Mixing into a 5069” configuration, 5059’s are configured to add
aux functionality to a 5059 / 5060 mix system by daisy chaining the insert sends to the line inputs on
another 5059 or 5060 and using the stereo 1 & 2 outs as the aux masters. For configurations with more
than 16 channels, you will need to use 2-4 channels for each additional 5059 (every 16ch) to link the
aux busses between units. If you would like the same processing on both the aux path and the mix path
it needs to be inserted before the line inputs on the “aux” 5059. For the 5059s creating the stereo stems
into the 5060, the configuration is identical to the “5059s Mixing into a 5060” example.
HOW TO CALIBRATE FOR A DIGITAL MIX IN ANALOGUE
For engineers looking to completely recreate their digital mix in the analogue domain, and not use the
level controls on the 5060, it is advisable to take the time to calibrate the 5060 on each channel since
there can be variances in the tracking of any continuous potentiometer or fader.
To do this, create a tone generator in the DAW and assign it channel 1-2 with the output level at 0dB.
Make sure SILK is off, and the stereo output gain on the 5060 is set to 0dB. Patch the stereo output to
the 2-track destination (the device that is going to capture the mixed stereo signal).
Adjust the level until the meters on the input of the 2-track destination reads a predetermined level (for
most purposes -6dB should work). Repeat by changing the tone generator output to each stereo channel
and adjusting to the same chosen level on the 2-Track device.
Patchbay Configurations
The 5060 can be used without a patchbay; however, if you have a number of outboard modules, we
recommend using a patchbay to allow easy integration with outboard equipment.
How you configure the patchbay depends entirely on your existing studio, although there are a few
general conventions that tend to make the workflow smoother. The source for the 5060 (generally a
digital to analogue converter from a DAW) should have its outputs normalled to the inputs of the 5060.
This makes it so the outputs from the source automatically flow into the 5060, but they can still be
patched to another destination on the fly if need be.