5060: 24x2 Desktop Mixer User Guide

Thank you for your purchase of a 5060 Desktop Mixer.

Everyone at Rupert Neve Designs hope you enjoy using this tool as much as we have enjoyed
designing and building it. Please take note of the following list of safety concerns and power
requirements before using the 5060 module.

Safety
It’s usual to provide a list of “do’s and dont’s” under this heading but mostly these amount to
common sense issues. However, here are important safety requirements that must be adhered to:

1) Read these instructions.

2) Keep these instructions.
3) Heed all warnings.
4) Follow all instructions.
5) Do not use this apparatus near water.
6) Clean only with a dry cloth.
7) Do not block any ventilation openings. Install in accordance with the manufacturer’s instructions.
8) Do not install near any heat source such as radiators, heat registers, stoves, or other apparatus (includ-
ing amplifiers) that produce heat.
9) Do not defeat the safety purpose of the polarized or grounding-type plug. A polarized plug has two
blades with one wider than the other. A grounding type plug has two blades and a third grounding
prong. The wide blade or the third prong are provided for your safety. If the provided plug does not fit
into your outlet, consult an electrician.
10) Protect the power cord from being walked on or pinched, particularly at plugs convenience recep-
tacles and at the point where the cord exits from the apparatus.
11) Only use attachments/accessories specified by the manufacturer.
12) Unplug this apparatus during lightning storms or when unused for long periods of time.
13) Refer all servicing to qualified service personnel. Servicing is required when the apparatus has been
damaged in any way, such as when power-supply cord or plug is damaged, liquid has been spilled or
objects have fallen into the apparatus, the apparatus has been exposed to rain or moisture, does not op-
erate normally, or has been dropped.
14) Do not expose this apparatus to rain or moisture.
15) The apparatus shall be connected to a mains socket outlet with a protective earthing connection.

Heat generated by the module is radiated through the case work, and by a silent fan at the back of the
module. Ventilation holes should not be covered or blocked for any reason. To avoid overheating, 5060
units should not be stacked immediately above or adjacent to other equipment that get hot. Also bear
in mind that other equipment may radiate strong hum fields which could spoil the performance of your
5060.

Protect the power cord from being walked on or pinched, particularly at plugs convenience receptacles
and the point where they exit from the apparatus. Do not defeat the safety purpose of the polarized or
grounding-type plug. A polarized plug has two blades with one wider than the other. A grounding type
plug has two blades and a third grounding prong. The wide blade or the third prong are provided for
your safety. Unplug the module during lightning storms or when unused for long periods of time.
1
 Don’t operate your 5060 module in or around water! Electronic equipment and liquids are not
good friends. If any liquid is spilled, such as soda, coffee, alcoholic or other drink, the sugars and
acids will have a very detrimental effect. Sugar crystals act like little rectifiers and can produce
noise (crackles, etc.). SWITCH OFF IMMEDIATELY because once current starts to flow the
mixture hardens, can get very hot (burnt toffee!) and cause permanent and costly damage. If it gets
wet and you suspect that good clean water may have gotten in, immediately unplug the unit, and
remove it from the source of water. Please contact service as soon as possible at
service@rupertneve.com for resolution. Clean only with a dry cloth.

5060 Block Diagram

StereoL
StereoR

1-2 Inputs Insert Return Soft Mute

TB to Send StInL1+
Insert Send InsInL1+

StInL1-
StInL1+
InsInL1-
Talk1
Stereo Insert L
StInL1-
Talk2
Mono/Left
L INS SND L INS RTN
StInR1+
InsInR1+

StInR1+
StInR1-
Talk1 InsInR1-
Texture
StInR1- GND
Talk2
R

R INS SND R INS RTN

3-4 Inputs Insert Return Soft Mute

TB to Send StInL1+
Insert Send InsInL1+

Mix Out
StInL1-
StInL1+
InsInL1- Texture
Talk1

StInL1-
Talk2
Mono/Left
StInR1+
InsInR1+
Left VU
StInR1+
StInR1-
Talk1 InsInR1-

Stepped Attenuator
StInR1-
Talk2
GND Monitor Section
Dim

5-6 Inputs Insert Return Soft Mute CW

StInL1+
InsInL1+
ExtIn1L+
StInL1+
StInL1-
InsInL1-
ExtIn1L-
StInL1- GND
ExtIn1R+ GND
EARTH
Mono/Left
ExtIn1R-
StInR1+
InsInR1+
StInR1+
CW

StInR1-
InsInR1-
StInR1-

GND
Insert Send
Ext. IP 1-3 Mono Summing
Select
7-8 Inputs Insert Return Soft Mute GND

StInL1+ 1 2 EARTH 3
InsInL1+
StInL1+
StInL1-
Variable Dim
InsInL1-
Ext. I/P Right VU
StInL1-

Mono/Left
StInR1+
InsInR1+
StInR1+

StInR1-
InsInR1-
StInR1-

GND
Talkback
Insert Send

TB LVL
TB MIC

LineIn9+ TB OUT
+V
J28
LineIn9-

TB assign
To DIM Send 1, 2
GND
(DIM Function Activates TALK 1, 2
LineIn10+ when TALK is Active)

TB assign
LineIn10- Send 3, 4
TALK 3, 4

GND
Talkback Remote
Control
Front Panel
Talk Button
Typical, Stereo Input Channels 9-24

(Activate by Grounding Tip)

2
Power Requirements
Each 5060 unit has high quality, low noise switching power supplies that are further filtered and
regulated for an exceptionally quiet and reliable power source for the audio circuits. The power supply
is considered “universal” in the sense that it will accept 100V through 240V AC and with 50 or 60Hz.
Be absolutely sure to disconnect mains power (remove the power cable from the IEC power connector
at the back panel) before servicing. The fuse is on the power supply and is not user accessible. The fuse
should only be replaced by a qualified service technician.

The fuse is a protection device intended to prevent additional damage or hazard if the 5060 unit
develops a problem. The symptom of a blown fuse is simply that the unit does not power up. If this
happens, you should contact your dealer or email service@rupertneve.com.

The Rupert Neve Designs 5060 Overview

From the father of the recording console comes the 5060 Centerpiece: the Class-A analog heart of your
21st-century studio. Sized for your desktop, the 5060 delivers the tonality and center section features
of Rupert’s flagship 5088 console at your fingertips, cementing outboard together with serious custom
transformers, flexible monitoring, DAW transport controls, and the raw power of a Rupert Neve-
designed 24×2 mix-buss.

With a modular, hybrid analogue/digital mix system built around the 5060, you can outfit your studio
with exactly what you need – and nothing that you don’t. Utilizing modern DAW control technologies,
the 5060 seamlessly integrates stem outputs from the DAW with the rest of your control room, sums the
final mix, and provides 2-track outputs, source selection, and speaker feed outputs from the monitor
section.

In the 5060, amplification is handled with fully class-A operational amplifier topologies featuring
Rupert’s custom transformer designs. While these circuits share a lineage with the circuits used in
Rupert’s consoles from the 70’s, and in many ways sound similar, there are refinements in noise, slew
rate, dynamic range and particularly avoidance of unpleasant high frequency distortion artifacts.

With proper implementation, the 5060 can redefine the sonic possibilities and streamline workflow in
the hybrid DAW and analogue based studio.

Quick Start: Configuration Suggestions for the 5060

The 5060 is designed to function both as a mixer, and as a way to tie together your studios analogue
and digital components. By configuring mix systems based around the 5060 and 5059 Satellite
Summing Mixers, any number of studio workflows can be accommodated. While there is no “right”
way to connect the 5060, here are a few suggestions to get started:

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. 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.

3
 “The Lone 5060”
Optional:
Supplemental Digital Control
Rupert Neve
Designs 511
MIC PRE

ADC
+ SILK
0dB

POWER
Tablet Computers
-6 +6

Control Surfaces
22
TRIM 20
18

30 36 42 48V 14

24 48

Digital Faders / Rotary Encoders

10
4
18 54

DAC
-2
12 60 -10

Future Control Technology

6 66 LEVEL
0dB
GAIN
100

20Hz 250Hz
HPF

HPF

MIN MAX
TEXTURE

SILK

Equalizer Reverb 2 Delay

Transport control
over Midi or USB
Comp Reverb 1 Reverb 3

RUPERT NEVE DESIGNS 5060 CENTERPIECE

24 x 2 Desktop Mixer

9-10 11-12 13-14 15-16 17-18 19-20 21-22 23-24

-20 -15 -20 -15 -20 -15 -20 -15 -20 -15 -20 -15 -20 -15 -20 -15
-30 -10 -30 -10 -30 -10 -30 -10 -30 -10 -30 -10 -30 -10 -30 -10

-5 -5 -5 -5 -5 -5 -5 -5

∞ 0 ∞ 0 ∞ 0 ∞ 0 ∞ 0 ∞ 0 ∞ 0 ∞ 0

STEREO INPUT CHANNELS 9 - 24

PEAK PEAK

Headphone Mixer / Amp

INS MUTE INS MUTE INS MUTE INS MUTE INS TB LEVEL TEXTURE DIM LEVEL HEADPHONE

1-2 3-4 5-6 7-8 MIX

∞ 0 MIN MAX -30 -6 ∞ 0

+10 +10 +10 +10 0 1/2 3/4 SILK

MIC

TB ASSIGN
+5 +5 +5 +5 -5
Headphone Mixer / Amp RED-SCRUB
GRN-SHUTTLE
0 0 0 0 -10 MIX EXT 1 EXT 2 EXT 3

-5 -5 -5 -5 -15
MONITOR SOURCE MODE
Mon 3 (Latchable)
MONO MON 1 MON 2 MON 3
-10 -10 -10 -10 -20
MONITOR SELECT
Mono / Stereo Subwoofers
-15 -15 -15 -15 -25 Cutting Room Playback
Third Pair of Speakers
-30 -30 -30 -30 -40

Headphone Mixer / Amp -40 -40 -40 -40 -50

-50 -50 -50 -50 -60

∞ ∞ ∞ ∞ ∞ DIM TALK

STEREO INPUT CHANNELS 1 - 8 MASTER MONITOR

HEADPHONE

Stereo or Mono Channel Stereo Mix Insert

Stereo Mix Output to 2-Track In
Insert Send and Returns Send and Returns
2-Track Output to Ext Monitor In
for Outboard Processing for Outboard Processing

5051 EQ/Compressor 5051 EQ/Compressor 5051 EQ/Compressor 5051 EQ/Compressor 5051 EQ/Compressor 5051 EQ/Compressor 5051 EQ/Compressor 5051 EQ/Compressor
INDUCTOR EQ INDUCTOR EQ INDUCTOR EQ INDUCTOR EQ INDUCTOR EQ INDUCTOR EQ INDUCTOR EQ INDUCTOR EQ
0 0 0 0 0 0 0 0
LINE 1 LINE 1 LINE 1 LINE 1 LINE 1 LINE 1 LINE 1 LINE 1
LINE 2 LINE 2 LINE 2 LINE 2 LINE 2 LINE 2 LINE 2 LINE 2

MIC
EQPRE

ADC
EQ IN EQ IN IN EQ IN EQ IN EQ IN EQ IN EQ IN
-15 HF +15 -15 HF +15 -15 HF +15 + SILK -15 HF +15 -15 HF +15 -15 HF +15 -15 HF +15 -15 HF +15
50 0.5 50 0.5 RUPERT NEVE DESIGNS
CHANNEL A CHANNEL B SFE
3K 6K 3K 6K 3K 6K 3K 6K 3K 6K 3K 6K 3K 6K 3K 6K
8K 1.5K 1.5K 8K 1.5K 0dB 8K 1.5K 8K 1.5K 8K 1.5K
8K 1.5K 8K 1.5K
8K
16K
700
16K
700
16K
700
16K
700
16K
700
16K
700
16K
700
16K
700 40 60 0.4 1.0 40 60 0.4 1.0 HF HF
350 350 350 POWER 350 350 350 350 350
POWER
HI PEAK
200
HI PEAK
200
HI PEAK
200
HI PEAK
200
HI PEAK
200
HI PEAK
200
HI PEAK
200
HI PEAK
200 HM HM
0
MID FREQ
0
MID FREQ 0
MID FREQ 0
MID FREQ
0
MID FREQ
0
MID FREQ
0
MID FREQ 0
MID FREQ
30 70 0.2 2.0 30 70 0.2 2.0
MID HI Q MID HI Q -6 +6 MID HI Q 22 MID HI Q MID HI Q MID HI Q MID HI Q MID HI Q LM LM
TRIM 20
RMS Comp RMS Comp
18 LF LF 2 24 2 24
EQ PRE EQ PRE
36
EQ PRE EQ PRE EQ PRE EQ PRE EQ PRE EQ PRE
Peak In Peak In
POST POST 30 42
POST 48V 14
-15 MID +15
POST
-15 MID +15
POST
-15 MID +15
POST
-15 MID +15
POST
-15 MID +15
POST
20 mS 80 mS 0.1 S 3.0 S 20mS 80mS 0.1 S 3.0 S
-15 MID +15 -15 MID +15 -15 MID +15
+10 50 18 +10 50 18 Depth EQ Width EQ 4 22 4 22

REDUCTION

REDUCTION
HPF 220 HPF 220 HPF
24
220
48
HPF
10
220 HPF 220 HPF 220 HPF 220 HPF 220 Attack Release Attack Release
Red 120Hz Red 120Hz Red 120Hz Red 120Hz 4 Red 120Hz Red 120Hz Red 120Hz Red 120Hz
15 15

OUTPUT

OUTPUT
Blue 60Hz Blue 60Hz Blue 60Hz
Blue 60Hz
100 Blue 60Hz
100
Blue 60Hz 18
100 54 100 Blue 60Hz
100 100 Blue 60Hz
100 100
6 20 6 20

DAC
-2
Silk : Blue 21 Silk : Blue 21 Depth Depth Width Width
LO PEAK
60
35
LOW FREQ
LO PEAK
60
35
LOW FREQ
LO PEAK
60
12
35 6
LOW0dB
FREQ
66
60
LO PEAK
LEVEL
-10
60
35
LOW FREQ
LO PEAK
60
35
LOW FREQ
LO PEAK
60
35
LOW FREQ
LO PEAK
60
35
LOW FREQ
LO PEAK
60
35
LOW FREQ
PORTICO II FF FF
8 18 8 18
0 0 0
GAIN
0 0 0 0 0
Master Buss 12 12
1 22 1 22 1 100 22 1 22 1 22 1 22 1 22 1 22
Processor FB Silk+ : Red +24 FB Silk+ : Red +24 In EQ In EQ 10 16 10 16
2 20 2 20 2 20 2 20 2 20 2 20 2 20 2
4
20
18
0 +20 0 0 100 Min Max 10 Off 0 +20 0 0 100 Min Max 10 Off 0 0
4 18 4 18 4 18 4 18 4 18 4 18 4 18
Gain dB Blend % Texture Limit dBu Gain db Blend % Texture Limit dBu 12 12 12 12
-15 LF +15 6 14 -15 LF +15 6 14 -15 LF +15 6 14 -15 LF +15 6 14 -15 LF +15 6 14 -15 LF +15 6 14 -15 LF +15 6 14 -15 LF +15 6 14
10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 10 -8 +8 2:1 3:1 -8 +8 2:1 3:1
0 14 4 0 14 4 0 14 4 0 14 4 0 14 4 0 14 4 0 14 4 0 14 4 18 6 18 6
18 -2 18 -2 18
20Hz 250Hz
-2 18 -2 18 -2 18 -2 18 -2 18 -2 LINK
22 -10 22 -10 22
HPF
-10 22 -10 22 -10 22 -10 22 -10 22 -10
-20 +14 1.5 5:1 -20 +14 1.5 5:1 24 0 24 0
GR Level GR Level GR Level GR Level GR Level GR Level GR Level GR Level
-6dB +20 -6dB +20 -6dB +20 -6dB +20 -6dB +20 -6dB +20 -6dB +20 -6dB +20
GAIN GAIN GAIN GAIN 250 1S GAIN 250 1S GAIN 250 1S GAIN GAIN 250 1S
250 1S 250 1S 250 1S 250 1S
CH A Master SC SFE to COMP
CH A CH B
HPF SC SC SC
S/C HPF S/C HPF S/C HPF
S/C HPF S/C HPF S/C HPF S/C HPF S/C HPF
Insert Insert Depth
-30dB +20dB 250 Hz 1:1 40:1 -30dB +20dB 250 Hz 1:1 40:1 CH A Min Max Mono Wide
100mS
RELEASE
2.5 S 100mS
RELEASE
2.5 S 100mS 2.5 S
RELEASE 25 50
100mS
RELEASE
2.5 S
25 50
100mS
RELEASE
2.5 S
25 50
100mS
RELEASE
2.5 S
25 50
100mS
RELEASE
2.5 S
25 50
100mS
RELEASE
2.5 S
Threshold Ratio Threshold Ratio Width Depth Width
25 50 25 50 25 50
CH B
LINK LINK MIN MAXLINK LINK LINK LINK LINK LINK
TEXTURE
5mS 75mS 5mS 75mS 5mS 75mS 5mS 75mS 5mS 75mS 5mS 75mS 5mS 75mS 5mS 75mS
ATTACK ATTACK ATTACK ATTACK 1.5:1 3:1 ATTACK ATTACK 1.5:1 3:1 ATTACK ATTACK 1.5:1 3:1
1.5:1 3:1 1.5:1 3:1 1.5:1 3:1 SILK 1.5:1 3:1 1.5:1 3:1
FF FF FF FF FF FF FF FF
FB FB FB FB FB FB FB FB

1.1:1 40:1 1.1:1 40:1 1.1:1 40:1 1.1:1 40:1 1.1:1 40:1 1.1:1 40:1 1.1:1 40:1 1.1:1 40:1
RATIO RATIO RATIO RATIO RATIO RATIO RATIO -10 +10
RATIO
-10 +10 -10 +10 -10 +10 -10 +10 -10 +10 -10 +10 -10 +10

COMP IN COMP IN COMP IN COMP IN COMP IN COMP IN COMP IN COMP IN

-30dB +20dB -30dB +20dB -30dB +20dB -30dB +20dB -30dB +20dB -30dB +20dB -30dB +20dB -30dB +20dB
THRESH THRESH THRESH THRESH THRESH THRESH THRESH THRESH

COMPRESSOR COMPRESSOR COMPRESSOR COMPRESSOR COMPRESSOR COMPRESSOR COMPRESSOR COMPRESSOR

Rupert Neve
Designs 511
MIC PRE
+ SILK
0dB

POWER

-6 +6 22
TRIM 20
18

ADC
30 36 42 48V 14

24 48 10
4
18 54
-2
12 60 -10
6 66 LEVEL
0dB
GAIN
100

DAC
20Hz 250Hz
HPF

HPF

MIN MAX
TEXTURE

SILK

-4 -4 -4 -4 -4 -4 -4 -4
-20 -15 -20 -15
-10 0 1 -10 0 2 -10 0 3 -10 0 4 -10 0 5 -10 0 6 -10 0 7 -10 0 8 -30 -10 -10
-4
0 1 -10
-4
0 2 -10
-4
0 3 -10
-4
0 4 -10
-4
0 5 -10
-4
0 6 -10
-4
0 7 -10
-4
0 8 -30 -10
Silk : Blue Silk : Blue
-20 +6 -20 +6 -20 +6 -20 +6 -20 +6 -20 +6 -20 +6 -20 +6 -3 -20 +6 -20 +6 -20 +6 -20 +6 -20 +6 -20 +6 -20 +6 -20 +6 -3
SIGNAL SIGNAL
-30 -30 -30 -30 -30 -30 -30 -30 -30 -30 -30 -30 -30 -30 -30 -30
INSERT STEREO 2 INSERT STEREO 2 INSERT STEREO 2 INSERT STEREO 2 INSERT STEREO 2 INSERT STEREO 2 INSERT STEREO 2 INSERT STEREO 2 Silk+ : Red INSERT STEREO 2 INSERT STEREO 2 INSERT STEREO 2 INSERT STEREO 2 INSERT STEREO 2 INSERT STEREO 2 INSERT STEREO 2 INSERT STEREO 2 Silk+ : Red
∞ +10 ∞ +10 ∞ +10 ∞ +10 ∞ +10 ∞ +10 ∞ +10 ∞ +10 MIN MAX MIN MAX
∞ 0 ∞ +10 ∞ +10 ∞ +10 ∞ +10 ∞ +10 ∞ +10 ∞ +10 ∞ +10
LEVEL LEVEL LEVEL LEVEL LEVEL LEVEL LEVEL LEVEL TEXTURE LEVEL LEVEL LEVEL LEVEL LEVEL LEVEL LEVEL LEVEL TEXTURE ∞ 0
5059 STEREO 1 5059 STEREO 1

SATELLITE -4 -4 -4 -4 -4 -4 -4 -4
POWER
SATELLITE -4 -4 -4 -4 -4 -4 -4 -4
POWER

16 x 2+2 -10 0 L
PAN
R -10 0 L
PAN
R -10 0 L
PAN
R -10 0 L
PAN
R -10 0 L
PAN
R -10 0 L
PAN
R -10 0 L
PAN
R -10 0 L
PAN
R
16 x 2+2 -10 0 L R -10 0 L R -10 0 L R -10 0 L R -10 0 L R -10 0 L R -10 0 L R -10 0 L R
PAN PAN PAN PAN PAN PAN PAN PAN
Summing -20 +6 -20 +6 -20 +6 -20 +6 -20 +6 -20 +6 -20 +6 -20 +6
RUPERT NEVE DESIGNS Summing RUPERT NEVE DESIGNS
-20 +6 -20 +6 -20 +6 -20 +6 -20 +6 -20 +6 -20 +6 -20 +6
Mixer Mixer
-30 9 -30 10 -30 11 -30 12 -30 13 -30 14 -30 15 -30 16 -20 -15 -30 9 -30 10 -30 11 -30 12 -30 13 -30 14 -30 15 -30 16 -20 -15
∞ +10 ∞ +10 ∞ +10 ∞ +10 ∞ +10 ∞ +10 ∞ +10 ∞ +10 ∞ +10 ∞ +10 ∞ +10 ∞ +10 ∞ +10 ∞ +10 ∞ +10 ∞ +10
LEVEL LEVEL LEVEL LEVEL LEVEL LEVEL LEVEL LEVEL -30 -10 LEVEL LEVEL LEVEL LEVEL LEVEL LEVEL LEVEL LEVEL -30 -10
Silk : Blue Silk : Blue
-3 -3
SIGNAL SIGNAL
INSERT STEREO 2 INSERT STEREO 2 INSERT STEREO 2 INSERT STEREO 2 INSERT STEREO 2 INSERT STEREO 2 INSERT STEREO 2 INSERT STEREO 2 Silk+ : Red INSERT STEREO 2 INSERT STEREO 2 INSERT STEREO 2 INSERT STEREO 2 INSERT STEREO 2 INSERT STEREO 2 INSERT STEREO 2 INSERT STEREO 2 Silk+ : Red
L R L R L R L R L R L R L R L R MIN MAX L R L R L R L R L R L R L R L R MIN MAX
PAN PAN PAN PAN PAN PAN PAN PAN
TEXTURE ∞ 0 PAN PAN PAN PAN PAN PAN PAN PAN ∞ 0
STEREO 2 TEXTURE
STEREO 2

RUPERT NEVE DESIGNS 5060 CENTERPIECE

24 x 2 Desktop Mixer

9-10 11-12 13-14 15-16 17-18 19-20 21-22 23-24

-20 -15 -20 -15 -20 -15 -20 -15 -20 -15 -20 -15 -20 -15 -20 -15
-30 -10 -30 -10 -30 -10 -30 -10 -30 -10 -30 -10 -30 -10 -30 -10

-5 -5 -5 -5 -5 -5 -5 -5

∞ 0 ∞ 0 ∞ 0 ∞ 0 ∞ 0 ∞ 0 ∞ 0 ∞ 0

STEREO INPUT CHANNELS 9 - 24

PEAK PEAK

Headphone Mixer / Amp INS MUTE INS MUTE INS MUTE INS MUTE INS TB LEVEL TEXTURE DIM LEVEL HEADPHONE

1-2 3-4 5-6 7-8 MIX

∞ 0 MIN MAX -30 -6 ∞ 0

+10 +10 +10 +10 0 1/2 3/4 SILK

MIC

TB ASSIGN
+5 +5 +5 +5 -5

Headphone Mixer / Amp 0 0 0 0 -10 MIX EXT 1 EXT 2 EXT 3

RED-SCRUB
GRN-SHUTTLE

Mon 3 (Latchable)
MONITOR SOURCE MODE
-5 -5 -5 -5 -15
MONO MON 1 MON 2 MON 3

Mono / Stereo Subwoofers

-10 -10 -10 -10 -20
MONITOR SELECT

-15 -15 -15 -15 -25

-30 -30 -30 -30 -40 Cutting Room Playback

-40 -40 -40 -40 -50
Headphone Mixer / Amp -50 -50 -50 -50 -60
or
∞ ∞ ∞ ∞ ∞ DIM TALK

STEREO INPUT CHANNELS 1 - 8 MASTER MONITOR

HEADPHONE

Stereo or Mono Channel Stereo Mix Insert

Stereo Mix Output to 2-Track In
Insert Send and Returns Send and Returns
2-Track Output to Ext Monitor In
for Outboard Processing for Outboard Processing

4
 “5059’s Creating Auxes and Mixing into a 5060”

Optional:
Supplemental Digital Control
Rupert Neve
Designs 511
MIC PRE

ADC
+ SILK
0dB

POWER
Tablet Computers
-6 +6

Control Surfaces
22
TRIM 20
18

30 36 42 48V 14

24 48

Digital Faders / Rotary Encoders

10
4
18 54

DAC
-2
12 60 -10

Future Control Technology

6 66 LEVEL
0dB
GAIN
100

20Hz 250Hz
HPF

HPF

MIN MAX
TEXTURE

SILK

-4 -4 -4 -4 -4 -4 -4 -4
-20 -15 -20 -15
-10 0 1 -10 0 2 -10 0 3 -10 0 4 -10 0 5 -10 0 6 -10 0 7 -10 0 8 -30 -10 -10
-4
0 1 -10
-4
0 2 -10
-4
0 3 -10
-4
0 4 -10
-4
0 5 -10
-4
0 6 -10
-4
0 7 -10
-4
0 8 -30 -10
Silk : Blue
Silk : Blue
-20 +6 -20 +6 -20 +6 -20 +6 -20 +6 -20 +6 -20 +6 -20 +6 -3 -20 +6 -20 +6 -20 +6 -20 +6 -20 +6 -20 +6 -20 +6 -20 +6 -3
SIGNAL
SIGNAL
-30 -30 -30 -30 -30 -30 -30 -30
INSERT STEREO 2 INSERT STEREO 2 INSERT STEREO 2 INSERT STEREO 2 INSERT STEREO 2 INSERT STEREO 2 INSERT STEREO 2 INSERT STEREO 2 Silk+ : Red -30 -30 -30 -30 -30 -30 -30 -30
MIN MAX INSERT STEREO 2 INSERT STEREO 2 INSERT STEREO 2 INSERT STEREO 2 INSERT STEREO 2 INSERT STEREO 2 INSERT STEREO 2 INSERT STEREO 2 Silk+ : Red
∞ +10 ∞ +10 ∞ +10 ∞ +10 ∞ +10 ∞ +10 ∞ +10 ∞ +10
LEVEL LEVEL LEVEL LEVEL LEVEL LEVEL LEVEL LEVEL TEXTURE ∞ 0 ∞ +10 ∞ +10 ∞ +10 ∞ +10 ∞ +10 ∞ +10 ∞ +10 ∞ +10 MIN MAX
∞ 0
5059 STEREO 1
5059
LEVEL LEVEL LEVEL LEVEL LEVEL LEVEL LEVEL LEVEL TEXTURE
STEREO 1
SATELLITE -4 -4 -4 -4 -4 -4 -4 -4
POWER
SATELLITE -4 -4 -4 -4 -4 -4 -4 -4
POWER

16 x 2+2 -10 L R -10 L R -10 L R -10 L R -10 L R -10 L R -10 L R -10 L R

AUX
0 0 0 0 0 0 0 0
PAN PAN PAN PAN PAN PAN PAN PAN 16 x 2+2 -10 0 L
PAN
R -10 0 L
PAN
R -10 0 L
PAN
R -10 0 L
PAN
R -10 0 L
PAN
R -10 0 L
PAN
R -10 0 L
PAN
R -10 0 L
PAN
R
Summing -20 +6 -20 +6 -20 +6 -20 +6 -20 +6 -20 +6 -20 +6 -20 +6
RUPERT NEVE DESIGNS Summing RUPERT NEVE DESIGNS
-20 +6 -20 +6 -20 +6 -20 +6 -20 +6 -20 +6 -20 +6 -20 +6
Mixer Mixer
-30 9 -30 10 -30 11 -30 12 -30 13 -30 14 -30 15 -30 16 -20 -15 -30 9 -30 10 -30 11 -30 12 -30 13 -30 14 -30 15 -30 16 -20 -15
∞ +10 ∞ +10 ∞ +10 ∞ +10 ∞ +10 ∞ +10 ∞ +10 ∞ +10
∞ +10 ∞ +10 ∞ +10 ∞ +10 ∞ +10 ∞ +10 ∞ +10 ∞ +10
LEVEL LEVEL LEVEL LEVEL LEVEL LEVEL LEVEL LEVEL -30 -10 -30 -10
Silk : Blue LEVEL LEVEL LEVEL LEVEL LEVEL LEVEL LEVEL LEVEL
Silk : Blue
-3 -3
SIGNAL
SIGNAL
INSERT STEREO 2 INSERT STEREO 2 INSERT STEREO 2 INSERT STEREO 2 INSERT STEREO 2 INSERT STEREO 2 INSERT STEREO 2 INSERT STEREO 2 Silk+ : Red
L R L R L R L R L R L R L R L R MIN MAX INSERT STEREO 2 INSERT STEREO 2 INSERT STEREO 2 INSERT STEREO 2 INSERT STEREO 2 INSERT STEREO 2 INSERT STEREO 2 INSERT STEREO 2 Silk+ : Red
L R L R L R L R L R L R L R L R
PAN PAN PAN PAN PAN PAN PAN PAN
TEXTURE ∞ 0 PAN PAN PAN PAN PAN PAN PAN PAN
MIN MAX
∞ 0
STEREO 2 TEXTURE
STEREO 2

Stereo Outputs into Channel Inputs

to Link Aux Busses FX Processors (Reverb / Delay)
Insert Sends on “Aux” 5059 into Line Inputs on “Mix” 5059
or Headphone Amp

-4 -4 -4 -4 -4 -4 -4 -4
-20 -15 -20 -15
-10 0 1 -10 0 2 -10 0 3 -10 0 4 -10 0 5 -10 0 6 -10 0 7 -10 0 8 -30 -10 -10
-4
0 1 -10
-4
0 2 -10
-4
0 3 -10
-4
0 4 -10
-4
0 5 -10
-4
0 6 -10
-4
0 7 -10
-4
0 8 -30 -10
Silk : Blue
Silk : Blue
-20 +6 -20 +6 -20 +6 -20 +6 -20 +6 -20 +6 -20 +6 -20 +6 -3 -20 +6 -20 +6 -20 +6 -20 +6 -20 +6 -20 +6 -20 +6 -20 +6 -3
SIGNAL
SIGNAL
-30 -30 -30 -30 -30 -30 -30 -30
INSERT STEREO 2 INSERT STEREO 2 INSERT STEREO 2 INSERT STEREO 2 INSERT STEREO 2 INSERT STEREO 2 INSERT STEREO 2 INSERT STEREO 2 Silk+ : Red -30 -30 -30 -30 -30 -30 -30 -30
MIN MAX INSERT STEREO 2 INSERT STEREO 2 INSERT STEREO 2 INSERT STEREO 2 INSERT STEREO 2 INSERT STEREO 2 INSERT STEREO 2 INSERT STEREO 2 Silk+ : Red
∞ +10 ∞ +10 ∞ +10 ∞ +10 ∞ +10 ∞ +10 ∞ +10 ∞ +10
LEVEL LEVEL LEVEL LEVEL LEVEL LEVEL LEVEL LEVEL TEXTURE ∞ 0 ∞ +10 ∞ +10 ∞ +10 ∞ +10 ∞ +10 ∞ +10 ∞ +10 ∞ +10 MIN MAX
∞ 0
5059 STEREO 1
5059
LEVEL LEVEL LEVEL LEVEL LEVEL LEVEL LEVEL LEVEL TEXTURE
STEREO 1
SATELLITE POWER
SATELLITE
MIX
POWER
-4 -4 -4 -4 -4 -4 -4 -4
-4 -4 -4 -4 -4 -4 -4 -4
16 x 2+2 -10 0 L
PAN
R -10 0 L
PAN
R -10 0 L
PAN
R -10 0 L
PAN
R -10 0 L
PAN
R -10 0 L
PAN
R -10 0 L
PAN
R -10 0 L
PAN
R
16 x 2+2 -10 0 L R -10 0 L R -10 0 L R -10 0 L R -10 0 L R -10 0 L R -10 0 L R -10 0 L R
PAN PAN PAN PAN PAN PAN PAN PAN
Summing -20 +6 -20 +6 -20 +6 -20 +6 -20 +6 -20 +6 -20 +6 -20 +6
RUPERT NEVE DESIGNS Summing RUPERT NEVE DESIGNS
-20 +6 -20 +6 -20 +6 -20 +6 -20 +6 -20 +6 -20 +6 -20 +6
Mixer Mixer
-30 9 -30 10 -30 11 -30 12 -30 13 -30 14 -30 15 -30 16 -20 -15 -30 9 -30 10 -30 11 -30 12 -30 13 -30 14 -30 15 -30 16 -20 -15
∞ +10 ∞ +10 ∞ +10 ∞ +10 ∞ +10 ∞ +10 ∞ +10 ∞ +10
∞ +10 ∞ +10 ∞ +10 ∞ +10 ∞ +10 ∞ +10 ∞ +10 ∞ +10
LEVEL LEVEL LEVEL LEVEL LEVEL LEVEL LEVEL LEVEL -30 -10 -30 -10
Silk : Blue LEVEL LEVEL LEVEL LEVEL LEVEL LEVEL LEVEL LEVEL
Silk : Blue
-3 -3
SIGNAL
SIGNAL
INSERT STEREO 2 INSERT STEREO 2 INSERT STEREO 2 INSERT STEREO 2 INSERT STEREO 2 INSERT STEREO 2 INSERT STEREO 2 INSERT STEREO 2 Silk+ : Red
L R L R L R L R L R L R L R L R MIN MAX INSERT STEREO 2 INSERT STEREO 2 INSERT STEREO 2 INSERT STEREO 2 INSERT STEREO 2 INSERT STEREO 2 INSERT STEREO 2 INSERT STEREO 2 Silk+ : Red
L R L R L R L R L R L R L R L R
PAN PAN PAN PAN PAN PAN PAN PAN
TEXTURE ∞ 0 PAN PAN PAN PAN PAN PAN PAN PAN
MIN MAX
∞ 0
STEREO 2 TEXTURE
STEREO 2

Stereo or Mono Channel

Insert Send and Returns
for Outboard Processing

Transport control
over Midi or USB
RUPERT NEVE DESIGNS 5060 CENTERPIECE
24 x 2 Desktop Mixer

9-10 11-12 13-14 15-16 17-18 19-20 21-22 23-24

-20 -15 -20 -15 -20 -15 -20 -15 -20 -15 -20 -15 -20 -15 -20 -15
-30 -10 -30 -10 -30 -10 -30 -10 -30 -10 -30 -10 -30 -10 -30 -10

-5 -5 -5 -5 -5 -5 -5 -5

∞ 0 ∞ 0 ∞ 0 ∞ 0 ∞ 0 ∞ 0 ∞ 0 ∞ 0

STEREO INPUT CHANNELS 9 - 24

PEAK PEAK

INS MUTE INS MUTE INS MUTE INS MUTE INS TB LEVEL TEXTURE DIM LEVEL HEADPHONE

1-2 3-4 5-6 7-8 MIX

∞ 0 MIN MAX -30 -6 ∞ 0

+10 +10 +10 +10 0 1/2 3/4 SILK

MIC

Headphone Mixer / Amp +5 +5 +5 +5 -5

TB ASSIGN

RED-SCRUB
GRN-SHUTTLE
0 0 0 0 -10 MIX EXT 1 EXT 2 EXT 3

-5 -5 -5 -5 -15
MONITOR SOURCE MODE
Mon 3 (Latchable)
MONO MON 1 MON 2 MON 3
-10 -10 -10 -10 -20
MONITOR SELECT Mono / Stereo Subwoofers
-15 -15 -15 -15 -25

Cutting Room Playback

Headphone Mixer / Amp -30 -30 -30 -30 -40

-40 -40 -40 -40 -50

or
-50 -50 -50 -50 -60
∞ ∞ ∞ ∞ ∞ DIM TALK

STEREO INPUT CHANNELS 1 - 8 MASTER MONITOR

HEADPHONE

Headphone Mixer / Amp

Stereo or Mono Channel Stereo Mix Insert

Stereo Mix Output to 2-Track In
Insert Send and Returns Send and Returns
2-Track Output to Ext Monitor In
for Outboard Processing for Outboard Processing

For setting up headphone sends with multi-channel cue mix systems, you can use the insert sends of
stereo input channels 1-8 to feed 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
5
 Talkback Level / Assign / Mic
Controls the level of the talkback mic to
the talkback output, and assigns the
output to monitor out 1-2 & 3-4

Aux Stereo Inputs

8 active stereo inputs with rotary
faders for stem and aux inputs

Stereo Channel Inserts

Passive stereo insert send / return.
The send signal is always active

Stereo Channel Mutes

Mutes the signal on the 4 main stereo
input channels

Stereo Channel Faders

100mm Fader determines the level of
the 4 main stereo input channels.
Faders can be either stereo or
center-panned mono from the left input

Master Stereo Insert

Transformer coupled insert where the
send signal is always active. Engaging
the insert button selects the insert
return signal

Master Stereo Fader

Determines the level of the master
stereo buss signal

Monitor Speaker Select

Selects which speaker output is active.
By holding the Mon 3 button, the Mon 3 outputs
will remain on with either Mon 1 or 2 for use with
subwoofers or speakers in the cutting room

5060 Front Panel

6
Silk
Toggles between Silk Red, Silk
Blue, or no Silk

Texture
Determines the amount of Silk
effect, when Silk is engaged L/R Meters & Peak Indicators
VU Meters Display the RMS signal
level of the selected monitor source,
and the peak indicator illuminates
red when the peak threshold has
been exceeded.

Dim Level
Sets the amount of monitor signal
attenuation that occurs when the
Dim button is depressed
Headphone Level
Controls the level of the
headphone output

Shuttle / Jog Wheel

Used to control either scrub
or shuttle functions in the DAW
Transport Controls
Control the standard transport
functions of a DAW through Midi
or USB interconnection
Marker Drop
Creates a marker in the DAW
Talkback Engage
Momentary switch, dims the
speakers and enables the
talkback send
Dim Engage
Latching switch, dims the monitor
signal according to the Dim Level

Monitor Level
21 Position rotary stepped attenuator determines
the level of the speaker output

Montitor Source Select

Selects the Monitor Source for the speakers
and heaphone outputs

7
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.

8
 5060 Back Panel
Monitor Outputs
Talkback Balanced, transformer Mono / Stereo
TRS talkback out to coupled outputs, selected Switches between Main Inputs 1-8
send to an external by the monitor select Stereo L-R and Mono Balanced DB-25 USB / MIDI Control
headphone mixer, or switches. Mon 3 can be on Ch 1-8. When Inputs for UMC or HUI control of
studio foldback, with a latched on by holding the mono, the signal is Channels 1-8 with the DAW is available
1/4” TS talkback Mon 3 switch for two sourced from the left 100mm faders through both USB and
remote trigger input seconds channel and inserts MIDI

Rupert Neve Designs, LLC 1/2 3/4 5/6 7/8

MONO
Model 5060
MIX OUTPUT MONITOR OUTPUTS STEREO
MADE IN USA USB
INSERT SEND 1-8 MAIN INPUTS 1-8
STEREO L MON 1L MON 2L MON 3L

MIDI IN
MIX INSERT TALK
INSERT RETURN 1-8 AUX INPUTS 9-16
SEND L SEND R TB OUT

MIDI OUT

LIFT 100-240 VAC

EXTERNAL TO MONITOR AUX INPUTS 17-24 50/60Hz 60 Watts

GND CAUTION
STEREO R RET L RET R TB SW MON 1R MON 2R Risk of Electric Shock
MON 3R Disconnect from outlet
before removing cover

Stereo Outputs Mix Insert External to Monitor Channel Inserts Aux Inputs 9-24 Chassis Gnd AC input
Balanced, Transformer Balanced, transformer Balanced DB-25 Balanced DB-25 Balanced DB-25 Isolates the direct IEC input with
coupled XLR outputs coupled insert send and Inputs for the external insert sends and Inputs with rotary connection from power switch.
for sending the mix signal return on the mix buss. monitor sources returns. The send is faders for audio signal Auto-switching
to a 2-track recorder The send is always always active, and controling level ground to chassis for 100-240V
active, and the return is the return is engaged earth
engaged with the insert with the insert switch
switch

While you can patch the source into a processing module before the input of the 5060 on channels
1-24, we recommend also normalling the insert send and return together on another row of the patchbay
for channels 1-8, as to avoid cutting off the signal when the insert is engaged with nothing patched in.
For using the faders as mono center channels, the signal will be sourced from the left input (i.e. 1,3,5,7).

DB 25 Connector Pinout

1 2 3 4 5 6 7 8
GCHGCHGCHGCHGCHGCHGCHGCH

13 1

25 14

USB / MIDI Setup Instructions

Either USB or MIDI can be used to provide DAW transport control from the 5060. The USB functionality
of the 5060 is plug and play in both PCs (win 7 and newer) and Mac (10.3 and newer). For older
operating systems, the USB may work, however we recommend using a MIDI interface. 5060: Rupert

9
Neve Designs will show up as a USB MIDI Device or USB Audio Device in the system device manager
and will be available in the device / peripherals / control surface setup in your DAW. For MIDI setup,
simply connect the MIDI in / out on the 5060 to a MIDI in port on your MIDI interface, and the MIDI in
port on the 5060 to the MIDI out port on your MIDI interface.

Here are a few quick guidelines for the digital setup of the 5060, specifics may differ from program to
program, so please follow your DAW’s instructions for adding a MIDI controller:

1. Connect either the MIDI or the USB input. DO NOT CONNECT BOTH AT THE SAME TIME!!!
2. If you have open midi connections available on an Audio or MIDI interface, it is preferable to use
your existing connections to minimize the number of devices connected to the computer.
3. Depending on the DAW Program, various functions like jog / shuttle may not work the same as in
other DAWs. Standard commands however, such as stop, start, fast-forward, rewind, should work the
same in nearly every program.

For use with Avid Pro Tools, the 5060 should be setup as a HUI Device under Peripherals > Midi
Controllers in Pro Tools. Be sure to launch Pro Tools as administrator by right clicking on the application
if you haven’t done so before.

For use with other DAW’s including Logic, Steinberg Nuendo, Cubase, Digital Performer and others, the
5060 should be setup as a “MCU device” in your DAW’s setup. If MCU device is not available, select
Mackie HUI device.

Line Inputs and Outputs

The input and output stages of the 5060 are similar to that of the 5088 console, using class-A circuitry,
driving a carefully configured output transformer that can deliver a full +26dBu from the balanced and
ground-free secondary winding.

This maximum level provides a large margin over and above the likely maximum requirement of any
destination equipment to which the module may be connected. This is especially true when feeding
digital equipment!

Freedom from the interference fields that are inevitably present in any control room is virtually
guaranteed by the balanced, ground-free design used in the 5060. The classic Rupert Neve designed
modules always used transformers, as do a number of other high quality vintage modules still in current
use.

High quality transformer connectivity has been used for many years, enabling modular amplifier
units to deliver the sonic performance for which they are famous. The outputs are very appropriate for
driving long lines that may be needed when the 5060 is used remotely.

Bear in mind that human ears are very sensitive and can perceive incredibly minute interference
signals that are not part of the “desired” signal. If unbalanced connections are used, great care must be
exercised to avoid ground loops and common signal paths. Reduced immunity from various forms of
interference can be tolerated (sometimes), but this usually results in a loss of resolution.

In certain applications, the output of the 5060’s transformer-coupled XLR may be used with one side
grounded. For example to use with “Hi-Fi”, “consumer” or other unbalanced audio gear, without
10
degrading the performance of such devices. Care must be exercised when using ancillary equipment to
avoid overloading these devices.

Chassis
The chassis is designed to work on a flat surface like a desktop or table. If you are looking to rack
mount it, in a standard 19” rack width, please email service@rupertneve.com for more information.
The construction incorporates a heavy and robust steel shell that provides total magnetic screening and
exceptional mechanical stability. The front panel is machined from a solid aluminum plate with a steel
sub panel behind it. The side cheeks are milled from solid mahogany.

5060 Controls

CHANNEL LEVEL
To control the mix of input signals, the 5060 has 4 Stereo 100mm faders with a range of -infinity to
+10dB and 8 stereo rotary faders with a range of -infinity to +0dB. We recommend users experiment
with varying the amount of level on the channels vs. the level of the master buss to find the “sweet spot“
of the 5060. By pushing the level on the channel faders on the 5060 and backing off the level of the
master fader, the mix insert can be engaged and the insert send transformers can be driven to create a
dynamic saturation effect on the mix buss.

MASTER OUTPUT LEVEL

The Master Fader uses a 100mm fader with a range from -infinity to 0dB. If you are “pushing” the mix
buss to get more tone out of the 5060, you may need to lower the master output fader to avoid clipping
your 2-track destination.

CHANNEL INSERT SEND / RETURN

The channel insert sends are mults of the input signal that is always active. When the insert button is
engaged, the insert return signal replaces the standard input signal.

In use, the inserts are helpful in auditioning various pieces of outboard equipment, but they can also
be used several other ways. The insert return can be used as a selectable second hardwire input to the
5060, for instance, if you have both a digital recorder and a tape machine, you can patch one to the
line in and one to the insert return. The insert send can also be used as a way to feed headphone queue
systems with talkback signals routed into channels 1-2 and / or 3-4.

CHANNEL MONO / STEREO SWITCHING

Input channels 1-8 are stereo by default, however they may be switched to mono center to enable
processing on mono tracks like lead vocals, snare drum, etc. The switches are at the top of the back
panel and select the left input (1,3,5,7) as the mono source. The right channel will not be passed
through.

SILK / TEXTURE
Pushing the SILK button engages the silk red circuit, and pushing it a second time introduces silk blue
circuitry. Silk reduces the negative feedback on the output transformer, adding vintage flavor as the
texture is increased. Silk red mode accentuates the saturation in the high-mids and highs, while silk
blue mode features more saturation in the lows and low mids.

In the 5060, both silk modes are modified and fine tuned by the texture control. By manipulating the
11
texture control, the amount of silk can be changed from essentially absent, to roughly three times the
amount of coloration found in silk from the original Portico Series.

With silk/texture engaged, the distortion characteristic and harmonic content of the unit are very
reminiscent of many of Rupert’s class-A vintage designs. These controls add an unparalleled range of
tonal options to the 5060 and should be explored creatively with a variety of different sources for best
effect.

The silk / texture control can be used to good effect on almost any source material by varying the texture
control accordingly. Although we highly encourage you to experiment to find your favorite results, here
are a few rough ideas and suggestions for both Silk Red and Silk Blue modes:

Silk Red: Adding sparkle to a mix . Adding brilliance and presence to vocals. Bringing out the snap
and sheen on a drum buss. Accentuating the growl and brightness of electric guitars.

Silk Blue: Adding weight and density to a mix, thickening and adding a sense of closer proximity to
vocals. Adding size and boominess to drum or bass buss. Warming up guitars or other instruments.

MONITOR SOURCE SELECT

The monitor source select determines the monitor source being sent to the speaker outputs and the
headphone output. The 5060 can select between three stereo Ext Monitor sources and the stereo mix
buss. The Ext Sources are often used to reference the return from the 2-track recorder or listen to music
from a turntable or iPod dock.

MONITOR SELECT
The monitor select determines which speaker output is active. By holding the Mon 3 button, the Mon 3
outs will “latch” on, allowing both Mon 1 & 2 for use while Mon 3 remains active. The latching feature
is often used for adding subwoofers or feeding speakers in the cutting room.

HEADPHONE AMPLIFIER
The headphone amplifier provides reference grade performance amplification for headphone
monitoring. The headphone signal follows the selection of the Monitor Source selection.

MONITOR LEVEL
Monitor Level is controlled by a precision 21 step attenuator which provides highly accurate left/right
stereo tracking, perfect repeatability.

TRANSPORT CONTROLS
The 5060 can control standard transport functions in DAWs including play, stop, record, fast-forward,
rewind, loop, shuttle / jog and marker drop through either MIDI or USB interconnection. Pushing the
mode button toggles between shuttle and jog modes for the rotary controller, the wheel changes from
shuttle to jog. Due to differences in some DAW’s, every features like Jog / Shuttle, Marker Drop and
Loop may not perform the same with every software program.

TALKBACK
The included talkback mic is activated by depressing the Talkback switch. The Talkback has level control,
a direct out, and assignment to insert sends 1-2 & / or 3-4. When the talkback switch is depressed, the
speaker output levels are lowered according to the setting of the Dim control. The Talkback amplifier
12
utilizes a built in compressor to control the sensitivity of the internal TB mic under varying conditions. A
talkback remote may also be plugged into the ¼” TS talkback remote input on the back of the 5060.

METERS
VU Meters Display the RMS signal level of the selected monitor source, and the peak indicator
illuminates red when the peak threshold has been exceeded, which is roughly 3dB before the clipping
point.

DIM
Engaged when either the Dim or Talkback switch is depressed, Dim reduces the volume of the monitor
source between -6dB and -30dB adjusted with the Dim Level control.

POWER
If the rear panel switch is not pressed then the 5060 is maximally “green” and exhibits its absolute
lowest noise floor. However, for any of the previously described features to have any significance, the
POWER switch should be pressed. If nothing happens when the switch is pressed and not one LED even
winks at you, then you may also want to plug in the Power cord too.

A Note on Distortion
The human hearing system is a remarkably complex mechanism and we seem to be learning more
details about its workings all the time. For example, Oohashi demonstrated that arbitrarily filtering out
ultrasonic information that is generally considered above our hearing range had a measurable effect
on listener’s electroencephalo-grams. Additionally, Kunchur describes several demonstrations that have
shown that our hearing is capable of perceiving approximately twice the temporal resolution that a limit
of 20 kHz might imply. His peer reviewed papers demonstrated that we can hear temporal resolution of
approximately with 5 microseconds (20 kHz implies a 9 microsecond temporal resolution, while a CD
at 44.1k sample rate has a best-case temporal resolution of 23 microseconds).

It is also well understood that we can perceive steady tones even when buried under 20 to 30 dB of
noise. And we know that most gain stages exhibit rising distortion at higher frequencies, including
more IM (intermodulation) distortion. One common IM test is to mix 19 kHz and 20 kHz sine waves,
send them through a device and then measure how much 1 kHz is generated (20-19=1). All this hints
at the importance of maintaining a sufficient bandwidth with minimal phase shift, while at the same
time minimizing high frequency artifacts and distortions. All of the above and our experience listening
and designing suggest that there are many subtle aspects to hearing that are beyond the realm of simple
traditional measurement characterizations.

The way in which an analog amplifier handles very small signals is as important as the way it behaves
at high levels. For low distortion, an analog amplifier must have a linear transfer characteristic, in other
words, the output signal must be an exact replica of the input signal, differing only in magnitude. The
magnitude can be controlled by a gain control or fader (consisting of a high quality variable resistor
that, by definition, has a linear transfer characteristic.) A dynamics controller - i.e. a compressor,
limiter or expander - is a gain control that can adjust gain of the amplifier very rapidly in response to
the fluctuating audio signal, ideally without introducing significant distortion, i.e. it must have a linear
transfer characteristic. But, by definition, rapidly changing gain means that a signal “starting out” to be
linear and, therefore without distortion, gets changed on the way to produce a different amplitude.

Inevitably our data bank of “natural” sound is built up on the basis of our personal experience and
13
this must surely emphasize the importance of listening to “natural” sound, and high quality musical
instruments within acoustic environments that is subjectively pleasing so as to develop keen awareness
that will contribute to a reliable data bank. Humans who have not experienced enough “natural”
sound may well have a flawed data bank! Quality recording equipment should be capable of retaining
“natural” sound and this is indeed the traditional measuring stick. And “creative” musical equipment
should provide the tools to manipulate the sound to enhance the emotional appeal of the music without
destroying it. Memory and knowledge of real acoustic and musical events may be the biggest tool and
advantage any recording engineer may possess.

One needs to be very careful when one hears traces of distortion prior to recording because some flavors
of distortion that might seem acceptable (or even stylish) initially, may later prove to cause irreparable
damage to parts of the sound (for example, “warm lows” but “harsh sibilance”) or in louder or quieter
sections of the recording. Experience shows that mic preamps and basic console routing paths should
offer supreme fidelity otherwise the engineer has little control or choice of recorded “color” and little
recourse to undo after the fact. Devices or circuits that can easily be bypassed are usually better choices
when “color” is a consideration and this particularly is an area where one might consider comparing
several such devices. Beware that usually deviations from linearity carry at least as much long-term
penalty as initial appeal, and that one should always be listening critically when recording and generally
“playing it safe” when introducing effects that cannot be removed.

1. Tsutomu Oohashi, Emi Nishina, Norie Kawai, Yoshitaka Fuwamoto, and Hishi Imai. National
Institute of Multimedia Education, Tokyo. “High Frequency Sound Above the Audible Range,Affects Brain Electric Activity and
Sound Perception” Paper read at 91st. Convention of the A.E.S.October 1991. Section 7. (1), Conclusion.
2. Miland Kunchur,Depart of Physics and Astronomy, University of South Carolina. “Temporal resolution of hearing probed
by bandwidth restriction”, M. N. Kunchur, Acta Acustica united with Acustica 94, 594–603 (2008) (http://www.physics.
sc.edu/kunchur/Acoustics-papers.htm)
3. Miland Kunchur,Depart of Physics and Astronomy, University of South Carolina.Probing the temporal resolution and
bandwidth of human hearing , M. N. Kunchur, Proc. of Meetings on Acoustics (POMA) 2, 050006 (2008)

Specifications

Stereo Outputs (unless otherwise specified, frequency is 1 kHz)

Max input level
Channels 1-8 , Fader at 0dB greater than +26 dBu
Channels 9-24, Max input, level trim at 0dB greater than +22 dBu

Max Output level

Any combination of inputs greater than +27 dBu

THD+N
Channels 1-8, fader at unity, BW <10 Hz – 80k Hz,
+20 dBu, 20 Hz 0.03%
+20 dBu, 2 kHz 0.003%
+20 dBu, 20 kHz 0.02%

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Channels 9-24, trim at unity, BW <10 Hz – 80k Hz
+20 dBu, 20 Hz 0.03%
+20 dBu, 2 kHz 0.004%
+20 dBu, 20 kHz 0.02%

Noise
BW 22 Hz – 22 kHz
1-24 Better than -90 dBV
9-24 Better than -100 dBV

X-talk
Channel to channel Better than 60dB

CMRR
1K input to channel 1, 0 dBu fader at unity -70 dBu

Frequency Response
10 Hz to 120 kHz +/- 0.25 dB
185 kHz -3 dB

IMD
+4 dBu, CCIF/DFD Better than 0.0008%

Silk Blue/Silk Red (Texture control at maximum)

Distortion
+20 dBu in, 20 Hz Better than 5%
+20 dBu in, 200 Hz Better than 0.2%

Monitor Outputs
Max Output Level
1 kHz +25 dBu

THD+N
+20 dBu, 20 Hz Better than 0.03%
+20 dBu, 2 kHz Better than 0.02%
+20 dBu, 20 kHz Better than 0.02%

Noise
Ch. 1-24 Better than -90 dBV
Ch. 9-24 Better than -100 dBV

Headphone Out

Max output level Better than +20 dBu, unloaded

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THD+N
16 dBu output, 2 kHz into 68 ohms Better than 0.02%,

Noise
(22 Hz – 22 kHz) Better than -85 dBV

Minimum Load 16 ohms recommended

Peak LED’s
Engage Threshold +22 dBu

Power Consumption:
AC Mains, 100VAC to 240VAC, 50/60Hz 60 Watts
Fuses – not user accessible, internal on power supplies

Weight: 22lbs

Frequency Response / Saturation Plots

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