got to take apart a Neve today....

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Chris Jahn

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the studio were i intern is moving from Manhatten to Brooklyn so its time to start breaking things down.

And i had the task of takeing apart the sidecar on the giant 70's Neve console, jesus those things are crazy. I know i know i know, and im not starting a digital vs analog argument, but i sure makes me apreitiate the old computer. What a mess it is to deal with all that, but i guess its all worth it for the sound quality.

Anyway it was fun and i learned alot, its like your first viewing of an autopsy in med school!!!!
 
Its called "hot sound studios" great head engineer, great gear, one "main" room with the neve and the live room, and two other vocal booth/mixing suites. Its nice but not REALY nice like you would think of a New York studio.

It worth my time, and i prefer the rough around the edges feel as aposed to the pretense attached to some big budget, big name studios. Its more rock n roll, less polished with expensive desk chairs.
 
Have you mixed on the Neve? I looked at a couple of those smaller broadcast Neves, and almost bought an 8068, but ended up with a Trident 80. Still have a longing for an 8068.... :(
 
No, im still in the take out the garbage, go get coffee stage of my internship, and i guess he trusts me to disasemble his gear, but sooner then later!!!!

This is the dude i take private lessons from, so far only at my place with my stuff, but the next lesson is going to be in his studio with the big stuff, and some more after that.

hes really trying to mold his interns into paid assistants and tracking engineers, so ill probebly end up learning all about it eventually. AND his interns can record for FREE in the off hours once there up to speed, so ive got the neve, a 24 track studer, pro tools and lots of out board toys in my future.
 
what model of neve? do you remember? 8068/78 perhaps?

If so, feel free to have goose bumps. :)
 
Its a 5106, does that mean anything to you?? cuz it doesnt mean much to me other then the name.
 
Chris Jahn said:
Its a 5106, does that mean anything to you?? cuz it doesnt mean much to me other then the name.
Click to expand...


That's a broadcast console originally I believe. It's nowhere near an 8068, but it's still a Neve, and probably still sounds pretty decent. :)
 
wow thats a giant damn console for broadcast, its like the size of a cadilac!!!!

mabye look up the specs on it, and tell me if im really lucky to be using it, if i read the specs i wouldnt really know how to interprate them.
 
It's a 24 channel version, no? I'm am not 100% sure, but I thought all the 51xx series were originally broadcast consoles. I looked at some when I was buying my console. Opted for the Trident since the 8068 had been dismantled for parts before I could get the funds together. :(

They are supposed to be decent consoles - they are nowhere near an 8068, but they also go for about what a channel strip from the 8068 would cost . :D (not really, but it's not that far off either) I did read that some came with 33609 comps in them - that would be worth the price of admission right there!.
 
Chris Jahn said:
Its a 5106, does that mean anything to you?? cuz it doesnt mean much to me other then the name.
Click to expand...

Can't say I've worked on that model before...

Neve does carry a heavy stigma that you'll have to get used to. It's up to personal experience to find out why. Also, note that there's a difference between AMS Neve and Rupert Neve designs.

I want to say that the 5106 was designed to be a broadcast console in the 80s (NL5 called that one).

Still capable for music production, but the monitor and routing options change up. Probably alot of the internal components, too. The 81 series boards on the other hand, where designed to live in the recording studio.

The 51 series setup the ground work for what would be the current 88 type models (look up AMS Neve to compare).

Good stuff, nonetheless.
 
Can't speak much to the Neve quality, since I mix on a Yamaha board from my DAT decks, but as for dismantling/setting up analog equipment... I love doing that stuff.

There's something far more fascinating to me about seeing how all this stuff actually connects together... running the recorders out to the mixing console, patching in effects and EQ's through the aux busses, inserts, mix output... the whole mess of wires is just far more intruiging than opening up a piece of software and hitting record.

The latter is far more simple, don't get me wrong - I know exactly why most would prefer it... but I love being able to sit down at the mixing console, hit play on the recorders, and turn knobs and push around faders.

It may have to do with the fact that Im a software engineer, so once I'm done staring at a computer for 9 hours, I really don't want to look at em at night, but I've also done a lot of live work where I recorded the shows, and all that setup and tear-down is just as fun to me as working the system during the show... just one man's odd opinion :)
 
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