500 Series

With the 551 Inductor EQ, Rupert Neve Designs is simultaneously taking a step forwards and a step backwards. Backwards in the sense that it draws on well-known 1970s designs and forwards in the sense that the 551 optimises the vintage circuits with the best components of today.The 551 was built around the custom transformer specially developed by Rupert Neve for the 500 format. The 3-band EQ offers an HF shelf/peak band, an LF shelf/peak band and a parametric mid band as well as an 80Hz LoCut filter.As with the legendary vintage predecessors of the 10XX series, the mids of the 551 are equalised using a coil filter. The advantage of an inductor circuit over a capacitor circuit is the incredibly musical sound it develops when it is driven into saturation. This allows the 551 to add unrivalled punch and personality to the signal that goes far beyond standard frequency processing.Q-factor:Basically, the filter quality of the mid band depends on the gain setting. In "MF Hi Q" mode, the Q factor of the mid-band is increased or the filter quality is reduced.

With its opulently dimensioned power supply unit and versatile connection options, the Rupert Neve Designs R10 Rack offers everything that professional users of the 500 format could wish for.Performance you can trust:The R10 Rack delivers more than 150% of the power a 10-slot rack actually needs to provide sufficient voltage for even the hungriest modules. To make it easier to monitor the power supply of the modules, the rack is equipped with an LED meter that displays the current power consumption of the modules.The internal power supply has been designed with great care and is double shielded to prevent unwanted magnetic influences in the individual slots. Thanks to the great attention that Rupert Neve's team has paid to the design of the proper power supply, the respective modules used can realise their full potential and sound just as the developers intended.Solid steel housing and flexible mounting:The housing of the R10 rack is made of solid steel. The nuts for fastening the modules can be moved freely in a rail so that they can be easily and flexibly adapted to the width of the respective module. To ensure that the R10 can be used for as long as possible, all connections and slots are manufactured to the highest quality standards.Versatile linking and improved appearance:Using link jumpers, the 500 series VCA buses can be activated in pairs in channels 1-2, 3-4, 5-6, 7-8, 9-10. This makes it possible for two compressors (e.g. Portico 543) to share one VCA and function as a stereo compressor. Blank panels 510 are optionally available to cover free slots.

Bento 2 is a 19 inch, 1U rackmount rack for two 500 series modules. It is equipped with an internal power supply (90Vac - 240Vac, 50Hz-60Hz) +/- 16V (+/- 900mA) and +48V (35mA). The device is equipped with balanced jack and XLR inputs/outputs and can be switched on/off at the front and rear, which is very useful for rack installation. the audio routing and the link function can be switched on the rear panel. The multi-layer rear panel guarantees minimum noise and maximum signal integrity.

The nvelope 500 is a powerful audio processor capable of making subtle or drastic changes to the signal by allowing control over the attack and sustain characteristics. This is extremely useful for shaping all kinds of individual signals and is an excellent tool in any mixing situation. Drums and other percussive signals in particular will benefit from the magic of the nvelope.The nvelope 500 can effectively change the spatial perception of a signal, from small/dry to big/wet. You can use it to shape a signal and improve its contribution to the mix without deforming it too much, as you would with excessive EQ and compression.

The Rupert Neve Designs Portico 517 quickly becomes indispensable for both live and studio applications thanks to its versatility. It offers both a transformer-balanced microphone input and an instrument input, the phase of which can be continuously adjusted using the Vari-Phase control. As both signals can be mixed together in the device, the optimum phase position can be set in relation to each other. A musical compressor with variable threshold compresses the audio signal if required. The selectable Silk circuit provides the coveted vintage warmth in the audio signal.The microphone preamp:The Portico 517's preamplifier combines outstanding sonic quality with the musicality you would expect from a Rupert Neve design. Thanks to the extremely low distortion, the extraordinarily wide bandwidth and the switchable Silk function, the preamp captures every last detail of the microphone signal.The compressor:Based on a new LDR (Light Dependend Resister) design, the 517's opto-compressor has been reduced to the essentials and offers threshold control with automatic catch-up gain. The compressor is set to a fixed compression ratio of 2:1 ex works. To operate it, simply change the threshold until the desired compression is achieved. An LED indicates the activity of the compressor.Crossfading:In instrument applications, the Portico 517 is used for phase adjustment as well as crossfading and compression of direct (DI) and amplified, miked signals (Mic); the adjustable crossfade between direct and amplified signals allows you to quickly set the desired tonal mix between the two sources; phase cancellations can be minimised using phase control. To compress the mixed signal, the jumper for the compressor must be set to the "Blend" path (factory setting). Of course, it is also possible to create a mixed vocals/guitar signal in this way.Vari-Phase:In addition to the normal phase inversion, the Portico 517 offers a Vari-Phase module for infinitely variable control of the phase position between the two inputs. This is important for all signals coming from the same source.Even with careful mounting of drums (close miking) and overheads, phase problems can make the overall signal sound muffled or muddy. Vari-Phase can be used to rotate the phase of the direct signal until the signals are in phase.This technique is also very useful in combination with the internal crossfade when recording instruments. A bassist who feeds the Portico with both direct and microphone signals can mix both signals into a sum signal, whereby he can use Vari-Phase to bring them into optimum phase alignment.

Many successful recordings of the 80s bear the signature of SSL 4000 E mixing consoles. This is not least due to the versatile dynamics section of the legendary 611E channel strip, which is appreciated by producers all over the world. This tool has been used to optimise numerous honourable kick drum punches and bass thrusts as well as to tame prominent but "very dynamic" vocal parts.

The Rupert Neve Designs Portico 542 is a 'true tape' emulator and line driver in API 500 format. The device recreates the unique sound of analogue tapes by simulating the circuitry of a tape drive. If this emulation is not used, the 542 can be used as a catch-up amplifier for line signals in the range of +12 to -12 dB.The Portico 542 is capable of reproducing the warm sound familiar from analogue tape. This eliminates the often cold sound of a digital signal. It is equipped with a trim control, a tape saturation control, a changeover of the tape characteristic from 15 lPS to 30 lPS and a blend control that can be continuously adjusted between pre- and post-tape. In addition, the 542 features the Neve-typical Silk function (Silk Red and Silk Blue), the intensity of which is infinitely variable via the texture pot.The 542 is not only ideal for mixdown or mastering. It is also ideal for tracking signals that are to arrive in the DAW with an analogue touch.Like the other Portico products, the 542 uses a new type of input transformer that can handle high signal levels with extremely low distortion and an output transformer that eliminates critical crossover distortion.

Bento6DS is a slide-in carrier for six 500 modules. The Bento6DS is equipped with an internal power supply (90Vac - 240Vac, 50Hz-60Hz) with +/- 16V ( 1.6A ) and +48V ( 0.3A ). Current that is not required on the negative voltage side is also available on the positive side. The colour display shows the current output voltages, the current power consumption and the temperature in the housing. The wiring effort can be significantly reduced as the audio routing can be programmed from card to card via the display. The multi-layer backplane guarantees minimum noise and maximum signal integrity.

The Warm Audio Tone Beast TB12-500 is a single-channel microphone and instrument preamplifier in API 500 format. It is equipped with Cinemag input and output transformers (made in the USA), which already provide the appropriate signal quality in high-end devices such as the Presonus ADL-700, A-Designs Pacifica or Universal Audio LA-610.The discrete circuitry of the TB12 is based on the familiar 312 design and has been enhanced with numerous features that make the Tone Beast a powerful and flexible sound shaping tool.The preamp delivers up to 71dB gain. In addition to the microphone input (XLR), the equipment also includes a line input and an instrument input, both of which are available in the form of jack connections.

The 611E channel strip of the SSL 4000E series has been popular with renowned producers since the early 1980s. This EQ module reproduces the very musical "Brown" EQ, named after the respective knob colour, and the somewhat more aggressive sounding "Black" EQ.The "Brown EQ" works with 15dB cut/boost. The special feature of the sound design is that the 3dB +/- starting points each fall on the same musical interval as the centre frequency. This means that the result always sounds natural, unobtrusive and pleasant at every frequency.The "Black EQ" has its origins in the later E-series mixing consoles of the mid-eighties. It works with 18dB cut/boost and, thanks to its special circuitry, enables tighter and more compact control over low frequencies. This characteristic is activated with the "BLK" switch.

The Rupert Neve Designs Portico 545 is a single-channel version of the Portico 5045 in 500 format, which has made the lives of just as many sound engineers much easier in countless live situations in recent years - such as the Super Bowl, the Oscars or on tour with acts like Madonna, Taylor Swift and Paul Simon. The Portico 545 Primary Source Enhancer allows the sound engineer to boost the microphone signal in a live sound environment by up to 20dB more before feedback, without negatively affecting the sound of the source signal.Thanks to its few control elements, changes can be made very easily and very quickly. This makes the 545 the perfect recommendation and an extremely useful tool for churches, stadiums, event halls or any other place where feedback is a problem.Completely analogue:The 545 incorporates Rupert Neve's custom transformer and completely dispenses with filter and digital technology. This means that the source signal is reproduced completely and intact.Quick and easy operation:The 545 is simply connected to the insert send of a mixing console or the line output of a microphone preamp. It is fed back to the corresponding insert return or the line input of a console. The few controls and the few reasons to change the settings again during a show make the 545 an extremely user-friendly tool and help the technician to achieve the best possible sound in the shortest possible time.Controls:Engage activates the use of the 545Threshold: Determines the level at which the PSE starts to intervene. The working range is -18dB to 12dB.Depth controls the intensity at which the 545 operates as soon as the signal falls below the threshold. In position "0", the 545 has no influence on the signal and can be used down to -20dB.Fast allows you to choose between two time constants in which the 545 operates. With the Fast button pressed, the device works faster and is better suited to more dynamic signals in this mode.Peak: If the "Peak" button is pressed, the 545 returns to the output level more quickly and recognises transients even better.

The Listem Mic Compressor in API500 format is borrowed from the legendary SL 4000 E console of the 1980s and was described at the time as the "secret weapon" of sound engineers. Originally, this compressor was only designed to avoid clipping in the return feed of the communication track. However, with its fixed attack and release curves, the LMC was ideal for an "ambient drum sound". For its role as an independent processor tool, the LMC was equipped with additional features and was thus given the suffix "+".

This preamp module brings the patented VHD technology from the SSL flagship "Duality" to the API500 series format. On the one hand, the preamp delivers ultra-clean SSL SuperAnalogue Recordings with up to +75 dB gain. Alternatively, the VHD system patented by Solid State Logic can be switched on, which adds second and third degree harmonic overdrive. Everything is possible here, from warm tube sounds to trashy grunge sounds.This new "+" version of the 500 VHD module offers inputs on both the front and rear. With a total of four different impedance settings, this versatile preamp can also be used as a DI box for a wide range of instruments.

Often imitated, never equalled - the analogue compressor from the 1980s G series has since become a legend. A comparatively simple device for a comparatively simple purpose: the mix sounds more powerful and has more punch, more drive. This compressor has been immortalised on countless popular recordings and is now nicknamed "The Glue" by insiders, as it holds the mix together like no other dynamics tool.

With plenty of power and versatile connection options, the Rupert Neve Designs R6 offers exactly what the user needs: a reliable power supply for the modules and versatile connection options.Power supply - sophisticated and safe:The R6 supplies more than enough voltage to properly power even hungry modules. In order to better monitor and identify problematic modules, the R6 is equipped with an LED meter that shows how much power is currently being consumed. The internal power supply unit itself is double-shielded to prevent magnetic interference with the modules. By paying so much attention to the design and guarantee of the power supply, the R6 helps the modules to realise their full potential.Connections - high quality and versatile:With a multitude of connection options, the rear of the R6 is practically a patchbay in its own right. The R6 offers eight channels with balanced I/O options including DB-25, XLR and jack. These features are particularly useful if the user takes the rack to another location and is not sure which cables are available there or if the connections need to be converted (e.g. with the THRU function of channels 7-8).The housing - solid steel and high-quality components:The housing is made of solid steel and fitted with rubber feet so that the rack can be positioned both vertically and horizontally. All connections and components are of the highest quality to ensure that the R6 can provide the best service for many years to come.Confidence in the 500 format:The R6 has been designed so that all properly finished 500 series modules can be installed without any problems. However, to ensure that modules that deviate slightly from the standard dimensions also find their place in the rack, variable screw holes have been provided to facilitate the installation of the modules.The link function of the 500 series can be activated by using the link jumpers in channels 1-2, 3-4 or 5-6.

elysia xmax Masterbus processor - precision and sound quality for mixing & masteringThe elysia Masterbus processor is a first-class solution for mixing and mastering applications. Equipped with a high-quality Class A analogue circuit, this device offers exceptional transparency and dynamic processing. Thanks to its M/S multiband compression with separate low, mid and side bands, it is ideal for shaping the mix with maximum control. The variable soft clipper, inspired by the legendary alpha compressor, provides more loudness without causing clipping on external A/D converters.Full control over the stereo imageWith the VariLink function, the bands can be flexibly linked together, allowing targeted processing of the frequency spectrum.Of particular interest to mastering professionals: the variable crossover frequency between the low and mid bands allows precise control over the bass range, while the integrated side-band mono maker (Lowmo) concentrates the low-end on the centre of the stereo image - for a powerful and balanced sound foundation.Intuitive operation & high-end displayThe global release control allows quick adjustment of the compression behaviour, making processing intuitive and efficient. This is complemented by a high-quality analogue display that provides precise information on signal level, clipping, tape compression and soft clipping. The alternative "Punch" mode, which generates a more assertive compression, also ensures powerful sound design.Versatility for studio & stageThe elysia Masterbus processor not only shines in the studio - it is also perfect for live applications at the FOH mixing console to optimally balance different volumes. The Tone control also serves as a unique shelving EQ and allows final adjustment of the overall sound.

Music history in API 500 format - dynamics processor based on the 611B channel strip of the legendary SSL SL4000B mixing consoleFour tools in one module - compressor, limiter, expander and gateOwn, very authentic sound image with aggressive character and high saturation.

The Millennia HV-35 is a microphone and instrument preamp. It is an adaptation of Millennia's classic HV-3 microphone preamp in the popular 500 format, which has also been enhanced with a number of useful features.The HV-35 offers up to 60dB gain as standard and up to 70dB in switchable ribbon mic mode. Other switchable options on the HV-35 include a 15dB pad, phase reverse, 48V phantom power and an 80Hz LoCut.

The Rupert Neve Designs Portico 511 is a microphone preamp module in API 500 format. It delivers original Neve sound and is equipped with typical Neve elements such as the transformer-balanced preamp and the variable Silk/Texture Control. Practical adjustment options such as the LoCut, which is infinitely variable from 20Hz to 250Hz, are the icing on the cake of this noble preamp, which refines every recording signal chain and gives the sound the necessary "mojo".

Expressive, powerful and versatile - the 535 diode bridge compressor revives the sound of the Rupert Neve 2254 compressor and also offers some modern innovations such as improved timing control, significantly lower inherent noise, gridded controls and a parallel compression control. Originally developed for the dynamics section of the excellent Shelford Channel, this decoupling for the proven 500 format is of course also equipped with the Rupert Neve Design custom transformers and Class A output transformers.Almost 50 years after the development of its first diode bridge compressor, Rupert Neve presents the rebirth of a powerful-sounding classic with the 535, which combines the classic circuit with contemporary precision and adaptability and makes a track really shine in the mix.The diode bridge:While VCA compressors such as the Portico 542 or the Master Buss processor are extremely neutral and low-distortion, it is precisely the rich and overtone-rich sound behaviour of diode bridge compressors that can make a decisive contribution to bringing vocals, electric guitars, bass and drums to the fore in a mix. Rupert Neve's first diode bridge compressor, the legendary 2254, served as the design inspiration for the 535. By meticulously analysing the limitations of the original 2254 topology, the ambitious goal of the further development was not only to reproduce the unique sound behaviour of the 2554, but also to improve the noise behaviour, increase the flexibility of the time constants, implement full sidechain detection (full wave) for an improved dynamic response and a larger control range for threshold and ratio as well as an expansion of the headroom of the diode bridge itself. With the powerful sound of the classic and the modern flexibility, the 535 is a dynamics tool that can enhance virtually any track.Timing is everything:The standardised TIMING control includes six selectable settings carefully crafted for different applications - a significant change from the fixed attack of the 2254. FAST and MF settings help tame signals with fast transients such as drums, plucked strings and fast vocals. MED and MS offer somewhat more subtle attack and release phases in which the transients are retained but then influence the signal more persistently. Finally, SLOW and AUTO are significantly slower and designed more for gentle level control.The switchable FAST mode increases the speed for attack and release again in each setting, so this function doubles the time constants from 6 to 12 presets. Compared to its predecessor, FAST mode therefore enables significantly greater tonal variety and a much wider range of functions.Fast TIMING settings generally result in greater ripple in the peak-to-peak control voltage, which excites more harmonics and thus brings more colouration to the audio signal path. Slower TIMING settings significantly smooth out the control voltage, so the intensity of the harmonic signal excitation remains significantly lower and the compression sounds more transparent. It should be noted that, due to the nature of the circuit topology, the time constants are always somewhat dependent on the selected Ratio and Threshold parameters as well as the actual audio material. This dynamically generated timing fluctuation and the harmonic sound component is what gives the diode bridge circuit its unique personality.The right mix:The built-in parallel compression option is particularly useful in connection with the inherently sound-colouring nature of the 535's diode bridge circuit. The BLEND control allows the user to add, for example, small amounts of extreme compression to the unprocessed signal portion to achieve a processed but still natural sound that retains the open dynamics as much as possible while still adding the desired tonal colouration and punch.Take control:In addition to the TIMING control, the diode bridge compressor offers further setting options via RATIO, THRESHOLD, GAIN, S/C HPF and LINK. RATIO provides six selectable compression ratios via a rotary switch, starting with a gentle ratio of 1.5:1 up to 8:1. The 31-stage THRESHOLD setting allows the user to set a level in the range from -25 dBu to +20 dBu, from which the compression kicks in. The GAIN control, also with 31 steps, regulates the catch-up gain of the applied audio signal in the range from -6 dB to +20 dB. The S/C HPF is a switchable high-pass filter for the sidechain signal path, which starts at 150 Hz with a slope of 12 dB / octave. This feature can be incredibly useful if you want to reduce the influence of the high-energy low-frequency signal components of a mix or instrument during compression, which would otherwise tend to result in a mashed sound. LINK can be used to activate the buss link of the 500 modules, as provided in numerous 500 racks (such as the Rupert Neve designs R6 or R10, see manual). If the two corresponding plug-in units are connected to each other via LINK, the control voltage is shared between the two units. This means that when one device is triggered, the second is triggered simultaneously. This is helpful to ensure stable centre localisation with a stereo signal. Note: with stereo sources, it is also useful to control the "unlinked" sound, as the link process can have an effect on the effective stereo width of the signal if the compressors are triggered from one side.