CLF SAE

The Neve VR
Dedicated in-line console
General info / features:

3 status configurations:
• Record
• Mixdown
• Broadcast

I/O Configuration:
32 - 32 - 4 (at SAE)
• 32 I/O modules
• 32 group busses
• 4 (2 stereo) busses

8 auxiliar busses that may be configured as:

• 8 mono auxiliar sends, or
• 4 stereo auxiliar sends, or
• Any combination (observe odd-even pairing)

4 stereo effects returns

• Rev. Returns 1 - 4

2 Routing Matrixes:
• Large Routing Matrix (LRM) - Assigning to group and/or stereo
busses
• Small Routing Matrix (SRM) - Assigning to stereo busses

Status Summary

I - Record Status

Mic / Line input - Channel Path - LRM - Group Buss - MTR

(via Large Fader - default)

MTR Return - Monitor Path - SRM - Stereo Buss - CRM (2Tk, etc.)
(via Small Fader - default)

II - Mixdown Status

MTR Return - Line I/P - Channel Path - SRM - Stereo Buss - CRM (or 2TK - CRM)
| (via Large Fader)
V
Monitor Path I/P - Monitor Path - LRM - ?
CLF SAE

III - Broadcast Status

This mode allows simultaneous broadcast and multi-track recording.

Mic / Line input - Channel Path - SRM - Stereo Buss - CRM/Broadcast
|
V
Pre-fader, Post-EQ copy
|
V
Monitor Path - LRM - Group Buss - MTR

The I/O Module

1 – Multi-track Routing Section (Large Routing Matrix)

1.1 - 48 Group Buss Routing

• 24 pushbuttons with access to 48 group busses
• Assignment to any of the 32 fitted group busses (SAE)
• Odd (left) / right (even) pan assign
• RANGE must be pressed first 1-24 or 25-48

1.2 - 4 Track Routing

• Access to the stereo busses (1-2 or 3-4)

1.3 - B’NCE (Bounce)

Designed to route “tape return” signals back to the MTR
• When B’NCE is pressed, the path that was feeding the Small Routing
Matrix will be assigned to the Large Routing Matrix instead
• The SRM is disconnected to prevent double-monitoring
• The associated B’NCE LED is illuminated

1.4 - Pan Switch and Pot

• The Pan switch must be engaged for the Pan pot to work.
• Upper pan pot affects Large Routing Matrix only
CLF SAE

2 - Input Section

2.1 - (Upper) C/O - Change Over

• Selection between Mic and Line inputs (opting for what is opposite
to the Master selection when engaged)
• The red LED next to the Change Over control is illuminated when
the I/O module input status is different to the master selection
• The upper Change-Over switch will not latch.
• Master input selection resets all I/O modules

2.2 - Line Gain

• ± 10 dB of cut/ boost notched at unity gain

2.3 - Mic Gain

• Originally +20 to +70 dB of boost notched at unity gain
• Effectively - 10 to +70 dB (with the use of - 30 dB pad)

2.3.1 - Phantom Power Switch

• Pull Mic Gain pot up to turn off phantom power (push it down to
turn it on / + 48 volts D.C.)

2.4 - (-30 dB) Pad

• Reduces the level of incoming ‘mic’ level signals by 30dB

2.5 - Phase Reverse

• Reverses the phase of the mic / line input signals (not Group)

2.6 - GRP (Group Button)

• Selects a 3rd input to the I/O module providing a patch-free audio
sub-grouping facility
• Channel path input is taken from the associated group buss.

2.7 - Filter Section

• Pull pots to turn them on
• 2 Pole Filters (filter slope 12 dB per octave)

2.7.1 - LPF (7.5 kHz to 18 kHz).

2.7.2 - HPF (31.5 to 315 Hz).

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3 - Dynamics

3.1 - Expander / Gate

3.1.1 - KEY
• The KEY switch enables the gate to be triggered by an external
signal
• The signal present at the Key Input (Patch Bay) opens / closes the
gate
Note: Key Input on patch-bay only applies to the Gate.

3.1.2 - INV
• This switch turns the gate into a ducker, inverting the external trigger
control so that the gate closes when a signal at a given level is
present

3.1.3 - HYST (hysteresis control)

• This pot sets the difference in level between ‘open’ and ‘close’
thresholds
• Varying the Hysteresis allows for more precise triggering of the open
gate while still allowing the correct amount of signal tail through
• 10 dB of Hysteresis is a recommended starting point

3.1.3.a - EXP
• When the hysteresis pot is turned fully anti-clockwise the gate
becomes a 2:1 expander

3.1.4 - THR (Threshold)

• -55 to +15 dB range (pulling up the pot will lower the threshold by 30
dB)

3.1.5 - Range Control

• Zero to - 50 dB (attenuation when gate closes)
• Pull up the Range pot to change the attack time from 1 ms to 100
µs (time for the gate to fully open when a signal level is higher than
the threshold)

3.1.6 - REL (Release Time)

• 30 ms to 3 seconds (time for the gate to fully close after a signal
drops below the ‘threshold-hysteresis’ level)

3.1.7 - Gate
• Turns gate on
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3.2 - Limiter / Compressor

3.2.1 - L / C
• Turns the compressor on (separately from the gate / expander)

3.2.2 - => (Link)

• Links gain reduction to the adjacent (right I/O) compressor

3.2.3 - Gain (Make-up Gain)

• Up to 30 dB of gain available at the compressor output

3.2.4 - THR (Threshold)

• + 20 to - 30 dB continuous selection
• Pull pot up to lower threshold by 20 dB

3.2.5 - RAT (Ratio)

• 1:1 to limiter
• Pull pot up to change attack time from 1 ms to 100 µs

3.2.6 - REL (Release)

• 30 ms to 3 secs
Note: Automatic hold

4 – Auxiliary Section (1to 8)

Auxes may be configured as 8 mono sends (each aux with its own On
button, Pre button and Level pot), or 4 stereo pairs (odd aux acts as
master on / off , pre / post and level control and even aux acts as a pan
pot)

Note:
• In Record Status: Pre-fader auxes are pre-cut
• In Mixdown Status: Pre-fader auxes are post-cut (pre-mute)
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5 – EQ / Insert Section

5.1 - Insert Section

5.1.1 - INS
• This switch activates ‘insert return’

5.1.2 - PREQ
• Pre-EQ and dynamics insert selection

5.2 - DYN
• Assigns the EQ signal to the side-chain of the dynamics section only
(e.g. de-essing)

5.3 - Hi EQ
• Semi-Parametric or Shelving
• ± 18 dB gain
• Hi-Q changes the Q from 0.71 to 2.
• 1.5 k to 17 kHz range

5.4 - Hi-Mid EQ
• Fully Parametric
• ± 18 dB gain
• Q from 0.5 to 9(INTRODUCE THE MATH’S PROBLEM)
• 800 Hz to 8.7 kHz range

5.5 - Lo-Mid EQ
• Fully Parametric
• ± 18 dB gain
• Q from 0.5 to 9
• 190 Hz to 2kHz frequency range

5.6 - Lo EQ
• Semi-Parametric or Shelving
• ± 18 dB gain
• Hi-Q changes the Q from 0.71 to 2.
• 33 Hz to 370 Hz range

5.7 - EQ In Button
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6 - Small Fader Section (including ‘direct’ routing to MTR)

6.1 - Track Pot

• If DIR is pressed the Track Pot adjusts the level of signals as they feed
the multi-track send (either via group buss or via DIR)

6.2 - DIR
• Assigns the channel path signal to the associated multi-track send
• The group buss is disconnected from the multi-track recorder send

6.3 - OD (Local)
See chart

6.4 - (Lower) C/O - Change Over

• Local status (Record or Mixdown) swap, opposite to the master
section
• Follows (is reset by) master changes (unlike SSL)

6.5 - Fader Swap

• Local Large / Small fader swap
• Associated solo and cut functions are also transposed

6.6 - Monitor Path Assign

6.6.1 - CH.OP (Channel Output)

• Assigns a post-fader copy of the channel path signal into the
monitor path
• Monitor paths may be used as 32 additional post-fader effects
sends during mixdown

6.6.2 – DYN
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• Assigns the use of the dynamics section to the monitor path

6.6.3 – INS
• Assigns the use of the insert section to the monitor path

6.6.4 – EQ
• Assigns the use of the EQ section to the monitor path

6.6.5 - AUX 1-8

• Assigns the use of the auxes section to the monitor path

6.7 - Small Fader SOLO and CUT Switches

6.8 - Small Fader

• Default monitor path fader.

7 - Small Routing Matrix Section

7.1 - Small Routing Matrix

7.2 - RET
• Local safe solo select (affects channel and monitor paths as
opposed to SSL’s Isolate = channel only)
• Allows the I/O module to be used as an effects return as the ‘wet’
signal is not cut when the dry path is soloe’d.

7.3 - PAN
• Pan switch must be pressed to insert the pan pot into the signal
chain

7.4 - Mute Scene Assign

• Muting groups (two scenes A and B)

7.5 - Large Fader CUT switch

7.6 - Large Fader Solo Button

7.7 - Small Routing Matrix Pan Pot

8 – Large Fader Section

The Master Section

1 - Status Lock
• When pressed status cannot be changed.

2 - Return Talkback Levels

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NOT USED

3 - Studio Monitor Section

NOT USED

4 - Status Selection
3-way switches (1-24 / 1-32 / 25-32)

4.1 - Broadcast Status Select (Orange)

When BROADCAST is pressed the signal is taken from the main path
prefader, post-equalisation and applied to the input of the secondary
path.
Fader swap is automatically engaged when BROADCAST is selected but
may be cancelled whilst broadcast is still engaged.
This facility allows the small fader to control the multitrack mix and the
large fader to control the broadcast signal.

4.2 - Mic Input Select (Red)

• When not lit, line input is global selection (default)

4.3 - Global Fader Swap (Blue)

4.4 - Mixdown Status Select (Pale Yellow)

• When not lit, Record Status is default
• Channel input is automatically set to line

5 - Meter Section

5.1 - O/P
• Meters show Off Buss levels.

5.2 - P/B
• Meters show Off Tape levels (default).

5.3 - Follow Mon

• Meters follow monitor path sourceing.

5.4 - Two Track Meter Options

• Mix 1-2, Mix 3-4 and External.

6 - Cues

6.1 - Mixed Cue

NOT USED

6.2 - Cues Post-EQ

CLF SAE
• Pre-fader monitor path auxes in record status are now taken from
monitor path.
• Cancelled by Master OP

7 - Solo and Cut Section

7.1 - Chan Safe

• Makes the channel path solos non-destructive.

7.2 - Mon safe

• Makes the monitor path solos non-destructive.

7.3 - PFL
• Makes non-destructive solos PFL rather than AFL.

7.4 - Latch
• Solos remain on until solo button is pressed again.

7.5 - IL (Interlock)
• When IL is on, pressing a solo button will unlatch all previously
selected solos.

7.6 - Reset
• Unlatches all solos.

7.7 - Cut A / Cut B (Mute Scenes)

7.8 - Solo Link

• Destructive channel path solos will not affect monitor paths unless
LINK is pressed.

NOTE:
The Neve VR is set on destructive solo mode unless CHAN SAFE or MON
SAFE are pressed.
At the desk’s default condition, if an I/O module’s solo button is pressed all
the other channels which have no SOLO or RET pushbuttons pressed are
automatically cut, leaving only the selected solo signal at the stereo mix
output. In solo safe mode (non-destructive) the other paths are not cut
and the soloe’d path can only be monitored correctly via the solo buss.

8 - Multi-Track Monitors

These affect the monitor path feed (see chart).

O/P - P/B - O/D (all in conjunction with local O/D)

Notes:
CLF SAE
Multitrack monitors also work in Mixdown
e.g. To group signals from a channel paths to a monitor path:
• Press Lower Change -Over at the channels (so the channel path
feeds the LRM)
• Assign all to a buss
• Press Master O/D
• Press local O/D at the destination (monitor path I/O)

9 - Monitor Panel

9.1 - Monitor Selection

9.2 - INT (Internal Selection)

• Uses left side of monitor selection

9.3 - EXT (External)

• Choose the right side of monitor selection (16 x stereo inputs)
• EXT 1 is hard wired from DAT machine

NOTE: INT or EXT must be pressed

9.4 - AFL / PFL

• Solo buss light

9.5 - Solo Buss Level

9.6 - Cut L
• Left monitor feed cut

9.7 - Cut R
• Right monitor feed cut

9.8 - L-R Swap

• Affects control room monitors only
• Does not latch.

9.9 - CRM Selection

• Large - Genelecs
• Medium – NS10s
• Mini - AKG Cubes

9.10 - DIM Level

• Sets the amount of attenuation when DIM is pressed

9.11 - L-R Balance Control

• Affects control room monitors only
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9.12 - CRM Level Pot

9.13 - CRM CUT

9.14 - DIM

9.15 - CRM MONO

10 - Phones Level
• Headphone socket on Neve’s left front left

11 - Talkback Level

12 - Talkback Selection

12.1 - Slate
• Sends talkback to the MTR sends

12.2 - Cue 1
• Sends talkback to cues for main live room

12.3 - Cue 2
• Sends talkback to cues for drum booth

12.4 - ALL
• Sends talkback to all cues

13 - Oscillator

13.1 - Signal Presence Thresholds (dBu)

• Turn it fully clockwise for pure signal presence

13.2 - CAL
• Bypasses the oscillator level pot and sets the output to 0 vu
(contains small cal. screw)

13.3 - Oscillator Level Pot

13.4 - Oscillator Frequency Select

(With slate, oscillator goes to tape)

13.5 - MTK
• Assigns oscillator signal to MTR sends

13.6 - Mix
• Assigns oscillator signal to the stereo buss
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14 - Auxiliar Buss Master Section

• Should be configured in the same way as local auxes (i.e. In stereo,

the odd aux master acts as level and on controls and the even aux
master acts as balance)
• For cue sends the auxiliar master does not need to be turned on.
ON button: Aux to cues and hard-wired effects
OFF: Aux to cues only

15 - Cue Section

15.1 - Cue Source Options

• Many options may be pressed at once
• Aux buss master + Cue master should be at full volume (room for
level changes)

15.2 - Cue EQ
• As Rev Return

15.3 - L-R Balance Control

• As Rev Return

15.4 - Cue Level Pot

15.5 - Balance On Switch

15.6 - Cue On Switch

NOTE: Use headphones at desk to check cues

16 - REV Return

16.1 - REV Return to cue mix assign and level

• Lexicon hard-wired to aux 1 and RET 1
• Rev Ret main ‘On’ switch affects sends to cues! (16.7)

16.2 - REV Return Small routing Matrix

16.3 - REV Return EQ

15.3.1 - Filters
• At 47 Hz / 82 Hz / 150 Hz (47 + 82 pressed) HPF.

15.3.2 - Hi and Lo Shelving EQ

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16.4 - Balance
• Must be turned on to work (15.4).

16.5 - Rev Return Level

• Does not affect cue send levels

16.6 - Balance On Switch

16.7 - Rev Return On Switch

• Affects Small Routing Matrix and cue sends

Notes:

• Aux sends sourced from the channel path are post-cut (in mixdown)
• If the channel path is cut the send is also cut (even with PRE
selected)
• Mon path receives a copy of Multitrack Return in mixdown that may
be sent to FX (via Auxes)
• The signal is independent from the channel path
• If EQ is used in the channel we may use CHOP to send the channel
copy (post fader) to FX
• Solos (even destructive) do not affect REV RTNs
• Aux sends sourced from the channel path are pre-cut (in record)