I have Neve pieces now, and have had other of their gear in the past. I can always hear silk on a mix no matter what. Even on these TH-camr vids it's apparent.
hi thank you for the video! could you please make an video on how to connect the back of the 5060 correctly to the interface + outboard gear on inserts (1-8) and mix buss? (external monitoring, sends, etc) would really help! i understand how to connect outboard gear to the daw via output track etcs. hopefully you consider it, these videos you've made helped alot since no one really puts much info out on youtube about the 5060! again thanks and subscribed.
I’d love to do a followup, but probably am not getting to it in the next 6 months. So in the meantime, hopefully this helps: use the insert output to connect a DB25 cable to 8 XLR males. This will go into your inputs of outboard gear. Then use 8 XLR females to go from the outboard gear back to the DB25 insert returns. This allows you to use the insert switches on channels 1-8 to send signal out to hardware. Another option is just to put a patchbay before the 5060. I’ve thought about doing this, but personally like to have things as simple as possible to keep cabling clean. Hope that helps for now! 😃
I was wondering the same in regards to the External Monitoring set up both in Pro Tools and connection on the rear. You monitor ext 1 “in the box” in your video and then switch to the summed mix - trying to do the same! Great videos. Subscribed!! And thanks for the original question above!
I take the stereo out of my interface and run it into the external input. Now, whenever I want to compare the summed to the direct converters, a push of the button can allow that. But the only thing is you will need to route your tracks or stems to both the stereo output of your converter along with individual outputs going to summing. These days, I just keep everything in summing mode, as I already know what to expect. (Not sure if that all makes sense….)
Hi Todd, Great Video, I wanted to ask you if you if there's any routing diagrams that you could provide, (I own the 5060 and 5059 but have some trouble actually routing using my, Manley variMU and Distressor). Any help is greatly appreciated.
I don’t have any written out. It is a bit DAW and workflow dependent in terms of how to set it up. I have another video on analog summing which might help. But if you are still stuck, we could always setup a session. But much of it is trial and error to figure out the best workflow for your needs.
Can you clarify how you are handling the cue mix checks? Are you only feeding the four cues on 1-8 during tracking and selectively unmuting the one you want to hear in the 5060 headphones or do also you feed 9-16, but mute those when you want to check a cue? Since there is no soloing on the 5060, it wasn't clear to me how you were doing this.
So, I use the 4 faders in a way that the product isn’t really intended. I feed the 4 stereo cues from my apollo to those faders. Then the inserts on those are sending to the headphone amp. It can be 8 mono cues or 4 stereo. For me the benefit while tracking is that I can check what the artist is getting in their cue mixes. It’s also a quick way for me to grab a fader and monitor something such as a vocal that’s being tracked without changing the relative levels in their cue mixes. (Since the sends are prefader) Not sure if that answers the question. Channels 9-24 are the only ones I use for summing.
Hi. Yes I do remote mixing. You can contact me directly at UrbanSoundStudio dot com, and I can get you a quote there if you get me some more information on the project. Thanks!
Love your videos on the 5060. I have the 5059 and MBPon the way if you can do a video on the 5059 that would be great. Also what brand of db25s are you using? There isn’t enough good content on the nerve 5060 and 5059 workflow so keep it coming !
I don’t currently own a 5059, but have used them and love them. At some point it would be great to cover the Satellite and Orbit. I’m using the Jumperz, which are available at Sweetwater. Super solid connectors. They are very expensive though!
@@ToddUrban Thanks for the reply. You have a great piece with the 5060 already. The Orbit would be icing on the cake. Thanks for the input on the cables my box comes tomorrow ! Keep up the great videos
Super exciting! Once you get it hooked up, you will find that the more you use it, the more colors you can get out of it. Try hitting it harder or softer with different levels and also experiment with the silk!
Hmm. For me, it was plug and play. It was instantly recognized under controller assignments. Maybe try a different cable? Sometimes using usb hubs can also affect things.
Of course you do need to set it up as a MCU device, but if you aren’t seeing it show up as an option to select as a controller, something is wrong. It should be like any other generic midi assignable controller
I am using a hub and now I'm trying to find a way around it. Are you using Mac? If so, what computer and year? My problem is the connection is all Thunderbolt/USB-C. The 5060 connection is a different usb. Also, what MCU device did you choose? (I already know where the settings are.)@@ToddUrban
@@blvkqmusicgroup trying going direct just to see if it shows. Once you do, it should just show up as Centerpiece 5060 as a discoverable device. I’m assuming the hub might cause issues. Sometimes different hubs can help with multiple devices. I’ve had hubs go bad for certain devices when it still works for other ones
Thanks so much for the detailed workflow demonstrations. Very insightful as im thinking of making this substantial investment. Am I missing something though.... Looking at the I/O, what outputs are feeding the headphone or cue mix? Where is the talkback being sent out of? Its not apparently clear to me just looking at the connections. Any info on how that is setup would be greatly appreciated. Thanks
Hi. Thanks for watching. You can send the built in mic to either Cue 1/2 or Cue 3/4. I personally use 8 cues with my mixes, so instead of doing this, I route the internal mic out of a TRS out the back of the 5060 into my interface. This lets me still use the button for the TB on the unit, but then I can assign that built in mic to any routing I want. I did used to use the built in Cues and it works fine and is super easy. (you do need to turn them on each time you power up the unit). One thing I also like about routing the TB mic back to my interface is that I also do some EQing and limiting on it to get my voice a little clearer when communicating with the artist. Hope that helps.
@@ToddUrban Yes, most definitely helps a ton and thank you very much. I guess when looking at the photos of the unit I must have overlooked outputs for the q routing. That's what made me ask. I didn't see any physical outputs labeled for the cue outputs so I wasn't sure
Ah! Yes. For me, that is one of the most essential parts. The product is intended for summing and mixing. But I also use it as my control room for cue monitoring. It has become essential for my workflow, even when I’m not mixing and only tracking. To me, that was an amazing surprise. It is expensive, but a great long term investment if you can make it fit your budget.
How do you compensate the latency in pro tools when you are summing analog? For example, i want to sum my harmonic instruments through the 5060, but i want to listen to the drums and vocals simultaneously. What do i have to do in pro tools?
I don’t. I usually bounce stems with the idea that they will he processed a little later on. However, if you record the 5060 back into your session, you will be able to monitor the stem properly with low latency compensation while recording that stem. But then I always play back the original tracks, as the rendered stems will always be slightly behind. (But all of them by the same amount) Not sure if that just made sense…
Not while rendering stems. Therefore I just prepare the mix on the 5060 so I get the sound I want. Then just bounce them through it to a new track. Once all stems are rendered, all the stems will be fully in sync with each other.
Have you tried summing your different instrument types with the 5060 and then printing them against how it sounds to sum them in the box and then summing everything with the 5060?
Absolutely. There is a different sound. But for me, it is also more about workflow. The 5060 is the center of everything I do. It is my honest translator of what is really going on, whether I’m printing stems or a full mix. But yes, for printing stems, it is different than committing stems in the box. There is a sonic difference between whether you commit the stems through the 5060 or the full mix. If I had to choose, I’d do both. But when I need to deliver stems, sometimes, we need to deliver an entire session that can be recalled in the box. That is where printing the stems benefits me.
I don't think it sound very high quality at all, the saturation is too much and I miss the open high end in the mix, for me the only console i would ever want is the 5088. I understand Neve tries to get gear into the entry market but is just isn't how the great consoles sound at all
Interesting. I’m not sure if there is a difference between running through a 5060 or a 5088 in terms of the center section. I believe that are actually the same components. But as to your other point, I did drive the saturation harder internationally to help people hear the difference. I agree, many times, less is more. But either way, thanks for your feedback! 😃
I have Neve pieces now, and have had other of their gear in the past. I can always hear silk on a mix no matter what. Even on these TH-camr vids it's apparent.
Absolutely
Thanks Todd let me look at the videos analog summing and perhaps I will reach out to have you look at my setup - really appreciate your videos 😅
Thank you! 🙏🏻
Incredible quality. Thank you 👍
Thanks for watching. Glad it helped!
I went with the MBT. Blue and red silk at the same time. Gives the mix the same sound 🔥 good video.
MBT is a killer product too and has some unique versatility
Top notch video!
Thank you! I appreciate you watching and supporting the channel.
hi thank you for the video! could you please make an video on how to connect the back of the 5060 correctly to the interface + outboard gear on inserts (1-8) and mix buss? (external monitoring, sends, etc) would really help!
i understand how to connect outboard gear to the daw via output track etcs.
hopefully you consider it, these videos you've made helped alot since no one really puts much info out on youtube about the 5060! again thanks and subscribed.
I’d love to do a followup, but probably am not getting to it in the next 6 months. So in the meantime, hopefully this helps: use the insert output to connect a DB25 cable to 8 XLR males. This will go into your inputs of outboard gear. Then use 8 XLR females to go from the outboard gear back to the DB25 insert returns. This allows you to use the insert switches on channels 1-8 to send signal out to hardware.
Another option is just to put a patchbay before the 5060. I’ve thought about doing this, but personally like to have things as simple as possible to keep cabling clean.
Hope that helps for now! 😃
I was wondering the same in regards to the External Monitoring set up both in Pro Tools and connection on the rear. You monitor ext 1 “in the box” in your video and then switch to the summed mix - trying to do the same!
Great videos. Subscribed!! And thanks for the original question above!
I take the stereo out of my interface and run it into the external input. Now, whenever I want to compare the summed to the direct converters, a push of the button can allow that. But the only thing is you will need to route your tracks or stems to both the stereo output of your converter along with individual outputs going to summing. These days, I just keep everything in summing mode, as I already know what to expect. (Not sure if that all makes sense….)
Thank you so much! Yep makes sense!
@@ToddUrban So you create two Aux's for each group to do this or is there another way? Thank you!!
Hi Todd, Great Video, I wanted to ask you if you if there's any routing diagrams that you could provide, (I own the 5060 and 5059 but have some trouble actually routing using my, Manley variMU and Distressor). Any help is greatly appreciated.
I don’t have any written out. It is a bit DAW and workflow dependent in terms of how to set it up. I have another video on analog summing which might help. But if you are still stuck, we could always setup a session. But much of it is trial and error to figure out the best workflow for your needs.
Can you clarify how you are handling the cue mix checks? Are you only feeding the four cues on 1-8 during tracking and selectively unmuting the one you want to hear in the 5060 headphones or do also you feed 9-16, but mute those when you want to check a cue? Since there is no soloing on the 5060, it wasn't clear to me how you were doing this.
So, I use the 4 faders in a way that the product isn’t really intended. I feed the 4 stereo cues from my apollo to those faders. Then the inserts on those are sending to the headphone amp. It can be 8 mono cues or 4 stereo. For me the benefit while tracking is that I can check what the artist is getting in their cue mixes. It’s also a quick way for me to grab a fader and monitor something such as a vocal that’s being tracked without changing the relative levels in their cue mixes. (Since the sends are prefader) Not sure if that answers the question.
Channels 9-24 are the only ones I use for summing.
Do you offer online mixing service? send you stems to sum through the 5060?
Hi. Yes I do remote mixing. You can contact me directly at UrbanSoundStudio dot com, and I can get you a quote there if you get me some more information on the project. Thanks!
Love your videos on the 5060. I have the 5059 and MBPon the way if you can do a video on the 5059 that would be great. Also what brand of db25s are you using? There isn’t enough good content on the nerve 5060 and 5059 workflow so keep it coming !
I don’t currently own a 5059, but have used them and love them. At some point it would be great to cover the Satellite and Orbit. I’m using the Jumperz, which are available at Sweetwater. Super solid connectors. They are very expensive though!
@@ToddUrban Thanks for the reply. You have a great piece with the 5060 already. The Orbit would be icing on the cake. Thanks for the input on the cables my box comes tomorrow ! Keep up the great videos
Super exciting! Once you get it hooked up, you will find that the more you use it, the more colors you can get out of it. Try hitting it harder or softer with different levels and also experiment with the silk!
Todd, how did you get the USB connection to work? I'm having trouble with getting the MacBook to recognize the 5060 in Logic Pro.
Hmm. For me, it was plug and play. It was instantly recognized under controller assignments. Maybe try a different cable? Sometimes using usb hubs can also affect things.
Of course you do need to set it up as a MCU device, but if you aren’t seeing it show up as an option to select as a controller, something is wrong. It should be like any other generic midi assignable controller
I am using a hub and now I'm trying to find a way around it. Are you using Mac? If so, what computer and year?
My problem is the connection is all Thunderbolt/USB-C.
The 5060 connection is a different usb.
Also, what MCU device did you choose? (I already know where the settings are.)@@ToddUrban
@@blvkqmusicgroup trying going direct just to see if it shows. Once you do, it should just show up as Centerpiece 5060 as a discoverable device. I’m assuming the hub might cause issues. Sometimes different hubs can help with multiple devices. I’ve had hubs go bad for certain devices when it still works for other ones
@@ToddUrban gotcha. It’s making more sense now. The trouble is my Mac uses thunderbolt ports. So I’ll have to figure out how to connect that.
Thanks so much for the detailed workflow demonstrations. Very insightful as im thinking of making this substantial investment. Am I missing something though.... Looking at the I/O, what outputs are feeding the headphone or cue mix? Where is the talkback being sent out of? Its not apparently clear to me just looking at the connections. Any info on how that is setup would be greatly appreciated. Thanks
Hi. Thanks for watching. You can send the built in mic to either Cue 1/2 or Cue 3/4. I personally use 8 cues with my mixes, so instead of doing this, I route the internal mic out of a TRS out the back of the 5060 into my interface. This lets me still use the button for the TB on the unit, but then I can assign that built in mic to any routing I want. I did used to use the built in Cues and it works fine and is super easy. (you do need to turn them on each time you power up the unit). One thing I also like about routing the TB mic back to my interface is that I also do some EQing and limiting on it to get my voice a little clearer when communicating with the artist.
Hope that helps.
@@ToddUrban Yes, most definitely helps a ton and thank you very much. I guess when looking at the photos of the unit I must have overlooked outputs for the q routing. That's what made me ask. I didn't see any physical outputs labeled for the cue outputs so I wasn't sure
Ah! Yes. For me, that is one of the most essential parts. The product is intended for summing and mixing. But I also use it as my control room for cue monitoring. It has become essential for my workflow, even when I’m not mixing and only tracking. To me, that was an amazing surprise. It is expensive, but a great long term investment if you can make it fit your budget.
How do you compensate the latency in pro tools when you are summing analog? For example, i want to sum my harmonic instruments through the 5060, but i want to listen to the drums and vocals simultaneously. What do i have to do in pro tools?
I don’t. I usually bounce stems with the idea that they will he processed a little later on.
However, if you record the 5060 back into your session, you will be able to monitor the stem properly with low latency compensation while recording that stem. But then I always play back the original tracks, as the rendered stems will always be slightly behind. (But all of them by the same amount)
Not sure if that just made sense…
@@ToddUrban Thank you for your answer. It all makes sense, i just thought you had a solution for it.
Not while rendering stems. Therefore I just prepare the mix on the 5060 so I get the sound I want. Then just bounce them through it to a new track. Once all stems are rendered, all the stems will be fully in sync with each other.
Have you tried summing your different instrument types with the 5060 and then printing them against how it sounds to sum them in the box and then summing everything with the 5060?
Absolutely. There is a different sound. But for me, it is also more about workflow. The 5060 is the center of everything I do. It is my honest translator of what is really going on, whether I’m printing stems or a full mix. But yes, for printing stems, it is different than committing stems in the box. There is a sonic difference between whether you commit the stems through the 5060 or the full mix. If I had to choose, I’d do both. But when I need to deliver stems, sometimes, we need to deliver an entire session that can be recalled in the box. That is where printing the stems benefits me.
I don't think it sound very high quality at all, the saturation is too much and I miss the open high end in the mix, for me the only console i would ever want is the 5088. I understand Neve tries to get gear into the entry market but is just isn't how the great consoles sound at all
Interesting. I’m not sure if there is a difference between running through a 5060 or a 5088 in terms of the center section. I believe that are actually the same components. But as to your other point, I did drive the saturation harder internationally to help people hear the difference. I agree, many times, less is more. But either way, thanks for your feedback! 😃
Howard Dean disagrees with you, he loves it. .