The 5060 , 5059 and 5057 were designed to function both as mixers and as devices to tie together your studio’s analogue and digital components. By configuring mix systems based around the 5060 Centerpiece, 5059 Satellite and 5057 Orbit Summing Mixers you can create a modular and scalable analogue mix system of the highest quality.
Firmly rooted in six decades of console design experience, the 5057 Orbit gives your mixes the legendary tonality, power, and wide-open soundstage that only Rupert Neve’s class-A analog summing can provide. Coupled with Rupert’s famous custom audio transformers and Silk Red & Blue circuitry for variable harmonic saturation, the Orbit launches sterile in-the-box mixes to new heights of tone, depth and clarity – without compromising the recallable convenience and repeatability of your DAW-based workflow.
Built around many of the topologies and custom transformers made famous with the 5088 mixer, the 5059 is a 16×2+2 summing mixer designed to deliver the ultimate out of the box sonics and control in a 2U, rack-mountable chassis.
The 5060 is designed to integrate your analogue components like outboard processing, speakers, and headphone amplifiers with the outputs from your DAW. Although one could conceivably use parts of the 5060 in the pre DAW path, all of our suggestions use the 5060 entirely in the post DAW or “mix” path. While there is no “right” way to configure them, here are a few suggestions to get started:
In the “Lone 5060” configuration, up to 12 separate stereo pairs (stems) can be outputted from the DAW through the DAC and into the 5060 for analogue mixing. Stereo inputs 1-8 may also be used as mono center channels to allow for latency free integration of analogue processing on key tracks like lead vocals during mixing. Stereo sends may also be sent out of the DAW and into reverbs, delays, or any processors for use as effects inputs to the mix buss with channels 9-24.
For setting up headphone sends with multi-channel cue mix systems, you can use the insert sends of stereo input channels 1-8 to pass through the 8 channels to the cue system, with talkback assigned
directly to both 1-2 and / or 3-4.
Because the sends are always pre-fader, you can also route stereo cue mixes from stereo outputs on the DAW through channels 1-2 and / or 3-4 with the mutes engaged to apply talkback to the stereo cue mixes. The external talkback out can also be sent directly to a separate headphone mixer (or DAW if you are creating cue mixes in the digital domain).
For analogue processing, the channel inserts and mix inserts may be used to easily connect to hardware signal processors such as EQ’s and compressors. Signal processing may also be added through a patchbay between the DAW and any of the stereo inputs 1-24. This can be useful if you are looking to create auxes in the DAW and send them out through a hardware reverb or delay and then return them into the 5060. One other way you can integrate hardware is to take the insert send signals on channels 1-8, run them out through processors like EQ and Compression, and then return them to a stereo pair on channels 9-24 for parallel stem processing.
The stereo output is routed to a 2-track recorder (this can be your DAW if you don’t have a specific device), and then the outputs of the 2-track recorder are returned to the Ext Monitor Source Select so you can monitor the final master buss signal. You may also wish to hook up things like ipod docks or 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 inter-locked so 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 ins 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.