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Vintage Neve 8068 Console, all original.  Call for details and pricing.

Original Neve 8068 recording/mixing console with 32 channels, 16 buses, Class-A, 31102 preamps and EQ, 48 inputs at mixdown

The Neve 8068 console is universally considered to be one of, if not the best vintage Neve console for tracking and mixing. A 32-channel, 16-bus desk, the 8068 is renowned for its remarkable sound quality: rich and full-bodied thanks to the “big iron” transformers; clear and “airy” highs, courtesy of its discrete Class-A design and linear wide bandwidth, all while maintaining an audiophile quality throughout the spectrum. This unbeatable sonic combination made the 8068 capable of handling a wide spectrum of acoustic and electric musical genres, including rock, jazz, and classical. 

Neve 8068-Just the Facts:

  • The most sought-after vintage Neve console
  • 32-channels, 16 buses
  • Fully discrete Class A circuitry
  • Neve 31102 preamps and EQ
  • Custom transformers provide the “big iron” sound of the '70s
  • 48 inputs at mixdown
  • The true classic “Neve sound”

Neve 8068-Beneath the Surface

The 80-series consoles featured modular construction. Each section (EQ, aux sends, routing module, etc.) was self-contained, which enabled clients to commission desks to their particular specifications (while there were stock models produced, it's hard to find two Neve 80-series consoles in the same configuration). While this provided great convenience to customers (and additional expense), once a studio was decommissioned, preamp/EQ modules were often stripped from the console and racked separately, which dramatically reduced the number of complete 80-series consoles in the world. (That's why owning this 8068 is such a rare opportunity.)

Much like Fender guitars made before the company was sold to CBS, the Neve 80-series consoles, such as the 8068, became an endangered species when the Bonochord Group took the helm of Neve Electronics in 1973 (Mr. Neve stayed on as a consultant until 1975.) Subsequent consoles were loaded down with features to compete with the SSL desks of the '80s. As such, corners were cut to keep costs down, usually in the preamps and transformers, which is where the sound of the 80-series consoles lives. Practically speaking, this meant that consoles such as the 8068 could accept higher input levels before distortion while also providing more gain than the modern desks.

Due to the incorporation of dynamics per channel, automation, and sophisticated routing matrices, the new desks ran much hotter with rather large, current-hungry power supplies. This, in turn, meant that machine rooms and control rooms required non-stop air conditioning. And, since heat is the enemy of electronics, the modern desks ate their capacitors so that regular maintenance was required. All of this contributed to higher operational costs and more downtime. In contrast, the relatively modest power consumption and longer service life of the 80-series consoles made them more reliable and user-friendly.

31102 preamp/EQ

The 31102 preamp/EQ came standard in the original 8058, 8068, and 8088 consoles. In essence, it's the console version of the 1084 preamp/EQ without the line input (the console handles line inputs elsewhere). As a point of reference, you can say that the 1084 is a 1073, since they share exactly the same preamp, but with three high-shelf EQ frequency choices, a mid-band high-Q switch, and low-pass filter. Along with the additional frequency choices, the preamp section had a gain range up to 80dB, phase reverse, and EQ bypass. To many engineers and producers, this makes the 31102/1084 superior to the famed 1073 and the finest sounding preamp Neve made. The 31102 populated the 8068 consoles of renowned studios, such as Ocean Way, Avatar, Sunset Sound, and the personal studios of Daniel Lanois and Rick Rubin, to name a few. Famous records by The Rolling Stones, Bruce Springsteen, and Guns N' Roses' (Appetite For Destruction) were recorded on 8068 consoles using the 31102 channel.

31102 EQ and controls:

  • 80dB gain range, phase reverse, Hi-Q, and EQ bypass
  • Selectable 10k, 12k, and 16kHz high-shelf EQ
  • High-pass filter with four selectable frequencies: 45Hz, 70Hz, 160Hz, and 360Hz
  • High-midrange with six frequencies: 350Hz, 700Hz, 1.6kHz, 3.2kHz. 4.8kHz, and 7.2kHz
  • Low-pass filter with five center frequencies: 6kHz, 8kHz, 10kHz, 14kHz, and 18kHz
  • LF EQ: 35Hz, 60Hz, 110Hz, 220Hz

Neve 8068-Summary of Facilities


Independent microphone and line inputs, with separate sensitivity (gain) controls; choice of amplifier/equalization; routing direct to track outputs or via stereo pan-pot to 16 group buses; post-fader auxiliary outputs 1&2 with independent level controls; aux 3&4 may be used as a stereo pair, with pre/post-fader selection and pan-pot; mic/master/line switch allows channels to be held on own mic or line input or as assigned by master switch.

Monitor System

Multi-track mixdown to 4T tape inputs with separate level controls; post-fader outputs to aux 5&6 with separate level controls; aux 7&8 may be used as a stereo pair, with pan-pot and pre/post-fader switching.

Master Remix

Illuminated press-button console switch routes all post-fade channel outputs to 4T mixdown section inputs; all eight auxiliaries available during mixdown.


Multi-track meters automatically follow monitor/mixdown inputs; 4T meters coupled to tape in/out switching for A-B monitoring; switchable auxiliary meter; 0Vu = +4dBu.


High-quality microphone and amplifier can be switched to all auxiliary outputs, tape tracks, or to external output.


Line-up oscillator fitted; used as a “slate” oscillator via talkback system.


Standard specification jack-points; all insertions at console line level, fully floating and balanced; patch-field can be integral, detached, or rack mounted.

Solo and Cut

All channels and monitor tracks are provided with cut buttons with LED indicators. In addition, a unique dual-action solo facility is included. “In Situ” or “Muting” solo is provided, in which all channels except those selected are muted, thus preserving pan position, but interrupting all other signals. By pressing a “solo safe” button, the system reverts to mono solo in which output signals are not broken, but the sampled signal appears on the two front speakers at all times. This featuring may be linked to the tape recording so that solo will automatically be “safe” when record mode is selected.


High-grade XLR connectors for microphones; line (tape) inputs via finest quality multi-pin connectors. 

Channel Amplifier

Sensitivity switch

Microphone input: Gain adjustable in 5dB steps between -80dB and -20dB for 0dBm output

HF Control

Variable to a maximum of ±16dB. Switched boost and cut frequencies. 10k, 12k, and 16kHz shelf-type curve shape.

Presence Control

Variable to a maximum of ±12dB or ±18dB, selectable on “Hi-Q” push-button. Switched boost and cut frequencies peaking at 350Hz, 700Hz, 1.6kHz, 3.2kHz, 4.8kHz, and 7.2kHz.

LF Control

Variable to a maximum of ±16dB. Switched boost and cut frequencies. 35Hz, 60H, 110Hz, and 220Hz shelf type curve shape.  

High-Pass Filter

Four switched frequencies with -3dB points at 45Hz, 70Hz, 160Hz, and 360Hz. Slope 18dB per octave.

Low-Pass Filter

Five switched frequencies with +3dB points at 18kHz, 14kHz, 10kHz, 8kHz, and 6kHz. Slope 18dB per octave.

Push-Button Switches

Equalization In/Out. Phase reversal


Front-panel dimensions: 1-3/4" x 8-21/32" (45 mm x 220 mm)

Here is your chance to own a true icon of the music industry along with the full backing of Pro Audio Design's Neve-savvy tech staff and support. For more information, call or chat online with your PAD Studio Integrator today.    



  • Impedance: Selectable 300 ohm or 1,200 ohm
  • Sensitivity: -10dB to -80dB in 5dB steps
  • Signal-to-noise ratio: Better than 67dB unweighted (relative to 0VU at 60dB gain)


  • Impedance: 10k ohm
  • Sensitivity: 0dB, ±10dB trim


  • Impedance: 50 ohm nominal
  • Working level: 0VU (+4dBu)
  • Headroom: +22dB above 0VU

Overall Performance

Distortion: (With -40dB input, +20dBu output with 600 ohm balanced multi-track out)

  • 40Hz: 0.15%
  • 100Hz to 10kHz: 0.08%
  • 15kHz: 0.1%


  • Better than -76dBu


  • Better than 70dB (100Hz to 10kHz)

Frequency Response:

  • ±1dB relative to output at 1kHz (20Hz to 20kHz)


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