According to studio owner Steve Rosenthal, a multi-Grammy-winning engineer and producer who established the studio in Manhattan’s Soho neighborhood in 1988, the Rupert Neve Designs 5088 console in the Blue Room is intended to impart analog character to DAW projects. “It’s really a pretty simple concept,” he explains. “The idea is to offer a low-cost alternative for my clients who are forced sometimes to mix in the box.” The audio restoration equipment formerly housed in the Blue Room has been moved down the hall to the Red Room, he adds.

Purchased through Vintage King Audio, Magic Shop’s new 5088, offers 32 inputs with 16 faders and is additionally configured with a variety of Portico modules positioned in the console’s penthouse section. They include eight 5032 Mic Pre/EQs, eight 5033 Five-Band EQs, a pair of 5043 dual-channel Compressor/Limiters, a 5014 Stereo Field Editor and a 5042 “True Tape” emulation module. “It’s a nice collection of EQs, mic pres and compressors for people to try out,” comments Rosenthal.

He continues, “The other thing that I’d like it to be used for–and hope that it will be used for–is for re-stemming mixes. What happens a lot of times now is that bands come in and spend time and money upstairs in the main Neve room mixing their record. Then, subsequently, there are fixes that either the artist or the record company is interested in doing. This gives them an opportunity to take the stems and run them back through the 5088, through the Class A signal path and the great compressors that are in it. It gives them a chance to re-stem their mixes without having to do the mixes in the box.”

As Rosenthal relates, he and his engineers have already had an opportunity to work on the 5088 console and are very pleased with the results. “We’ve been using it to mix some vintage jazz recordings and it has just been sounding fabulous. I’m happy with it, and Warren Russell-Smith, who’s the main engineer in the Blue Room, is really delighted with it. We’ve been getting really great results,” he says.

Rosenthal has a relationship with Mr. Rupert Neve going back a couple of decades, he shares. “He’s been amazingly helpful over the years. The console upstairs is actually two Neves that came from the BBC. He helped me put them together, and he helped get the Flying Faders installed in the console upstairs. He’s been a really great friend of the studio for many years.”

Studio A has hosted notable sessions from Sonic Youth, The Hold Steady and Interpol, while the Blue Room, prior to its re-purposing, hosted restoration work for releases by Alan Lomax, The Rolling Stones, Sam Cooke and Woody Guthrie. Most recently, offers Rosenthal, “I mixed five unreleased tracks for the Rolling Stones’ ‘Get Your Ya Yas Out’ fortieth anniversary boxed set in Studio A, and in the last month or so we did a couple of iTunes exclusives, one with Diane Birch and one with the band Shinedown, also in Studio A.”

Owned exclusively by Rupert and Evelyn Neve, Rupert Neve Designs Inc. was founded on passion, experience and a desire to build products embodying the highest musical quality. In continuing his legacy as a pioneer in audio circuit design, Mr. Rupert Neve is currently focusing his talents on creating innovative solutions to the issues facing the modern recording engineer.

Although it started as a personal project studio, Tenda da Raposa quickly began to attract independent musicians, producers and singers due to its unique atmosphere, gear and design. After 10 years of non-stop operations, having recorded the biggest names in the independent music scene in Brazil, and after over 300 CDs, it was time for a major upgrade — an analog console.

For musician, producer and owner of Tenda da Raposa, Carlos Fuchs, the 5088 is a great step forward: “Being a fan of Rupert Neve’s gear for so long, it was an easy decision to go with the 5088. Even without listening to the desk — none were available in Brazil — it was a no-risk operation, and results have gone beyond our expectations.”

As the studio centerpiece at Tenda da Raposa, the high voltage and fully discrete 5088 provides for mic amplification, monitoring, channel processing and, most importantly, a summing buss with over 10 dB more headroom than any console ever designed by Mr. Rupert Neve. With transformers on every input and output, the 5088 provides for complete galvanic isolation, and the sweet musical performance that helps mixes come together like never before.

“It has been a real joy to work with the 5088,” says Fuchs. “I feel I can achieve great results much quicker that with my previous system. Incredible headroom, pristine sound, solid feel. Clients love it, I love it. What else could I want? We are proud to be the first 5088 studio in Brazil!”

Owned exclusively by Rupert and Evelyn Neve, Rupert Neve Designs Inc. was founded on passion, experience and a desire to build products embodying the highest musical quality. In continuing his legacy as a pioneer in audio circuit design, Mr. Rupert Neve is currently focusing his talents on creating innovative solutions to the issues facing the modern recording engineer.

That signal path can be heard to great effect on the latest album by Jenny Owen Youngs, “Transmitter Failure,” which was released in May, as well as the new hit album, “Everybody,” from rising star Ingrid Michaelson. Romer was involved as arranger, co-writer, performer, recording engineer and producer on the projects with Young and Michaelson, with whom he regularly works.

This latest iteration of Mr. Neve’s mic preamp compares favorably to the renowned audio equipment designer’s classic gear, according to Romer. “I booked out a studio for a vocal session I was doing,” he relates. “Our signal path was a [Neumann] U 67 into a [Neve] 1073 into an Apogee converter. We didn’t get all the vocal takes we needed, so we went to my place and we used the MA-200 into the 5012. At the time I was using the Digidesign 002 converters. The vocals sounded more pleasing than the 67 and the 1073. It was just more hi-fi sounding. There wasn’t quite as much low-mid, but on the songs where we did end up using the 67 and 1073, I ended up getting rid of a lot of those low mids to get the vocal fit into the mix anyway.”

Romer is also a fan of the 5012’s Silk function, which introduces pleasing harmonic distortion to the signal. “I keep Silk on pretty much consistently,” he shares. “Once in a while I’ll notice it coloring the vocal a little too much, especially if I’m using tube stuff, but that’s very rare. Most of the artists I work with want an older warmer vintage sound. I don’t do much super pristine, in-your-face pop music, I do mostly more acoustic stuff. So most of the people I work with want that more colored sound.”

“I’ve been using the 5012 for a good year and a half now,” continues Romer, who also goes by the moniker Drawing Number One Productions. “I’ve been using a Mojave Audio MA-200 or Royer Labs R-121 mic on most things. If I’m doing percussion electric guitar, toms or similar percussion, I’ll also use a 57 or an RE-20 or a D-112. I go from that into the 5012, and then straight into Pro Tools.”

Romer’s engineering and production work has been heard on television of “Greys’ Anatomy,” “Weeds,” “Veronica Mars,” “Firehouse,” on advertisements for Old Navy and HBO, at the Sundance Film Festival, and radio stations all over the world. Having previously favored synthesizers, he says, “Something slipped in my brain. Suddenly I didn’t want to use synths any more, I only wanted to use horns and strings and marimbas and percussion. I wanted to start using organic sounds.”

Many of those sounds are recorded at his two-story home facility, which includes a substantial live recording area in the basement. “The heating ducts have a pretty long reverb, a good one and a half seconds or so,” he comments. “If you put a room mic near them you get a gorgeous reverb. With percussion, what I’ve been doing is using one channel of the 5012 on a close mic and the other channel on a room mic and just slamming the room mic, keeping the close mic pretty natural.”

But in the end what truly matters is not the equipment, he says. “The most important thing is how good your source sounds, how good your instrument sounds. If you don’t have that then nothing — not your mic, your preamp, or your compressor matters — matters.”

Owned exclusively by Rupert and Evelyn Neve, Rupert Neve Designs Inc. was founded on passion, experience and a desire to build products embodying the highest musical quality. In continuing his legacy as a pioneer in audio circuit design, Mr. Rupert Neve is currently focusing his talents on creating innovative analogue solutions to the issues facing the modern recording engineer.

For further information on Rupert Neve Designs please visit www.rupertneve.com

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Media Contacts: Steve Harvey Media Medium Tel: (818) 909-9790 E-mail: mediamedium@yahoo.com

Rupert Neve Designs, 11 Flite Acres Road, Wimberly, TX 78676. Tel: (512) 847-3013 Fax: (512) 847-8869 E-mail: info@rupertneve.com

The Portico II is a self-powered 2U channel module comprised of a fully- featured mic preamplifier, 4-band EQ, compressor-limiter, “texture” control and level metering, The Portico II includes a bevy of new features including: Variable Silk / Silk+ Texture control, a fully tunable “de-esser”, multiple VCA filtering and detection options, a transient-optimized swept HPF and parallel compression blending. With its simple yet powerful topologies and extensive feature set, every element of the Portico II: Channel is geared towards providing unprecedented sonic integrity and creative capabilities.

Company owner and legendary designer Mr. Rupert Neve sees Portico II as a major advance in signal processing performance, “Our primary goal with the Portico II Channel was to combine the finest possible sound quality with a set of tools that both inspire creativity and expand the available tonal palette. With discrete, high voltage single-sided op-amps similar to those in the now famous 5088 mixer, together with groundbreaking features like texture control, I believe the Portico II Channel Module can adapt to suite the personality of any song, instrument or engineer.”

One of the key developments in the Portico II is the new Texture section. Building on the “Silk” mode found in the Portico Series mic pre-amplifiers, Texture is designed to adjust the actual amount of harmonic music content from the source material, in effect, providing countless tonal options in one device. The texture section features distinct modes, controlled by a potentiometer from barely audible to dramatic!.

Like the original Portico, Silk mode works by reducing negative feedback on the output transformer and adjusting the frequency response to more closely resemble Mr. Rupert Neve’s vintage designs. “Silk +” mode pushes this technique still further, achieving a more harmonically rich sound.

A further array of tools are used to craft dynamic response. The Portico II’s compressor section is exceptionally flexible. Like the Portico 5043, the compressor a choice of Forward – Feed / Return – Feed modes, either providing a transparent modern response, or a smoother more musical vintage response. Along with FF/FB modes, there are also 1:1 to 40:1 ratio controls and threshold from -30dBu to +20dBu, together with Attack from 20 to 75ms (.1 ms in “fast” mode), Release from 100ms to 2.5s, and Make up gain from 0 to 20dB with a Stereo Link.

The Portico II compressor however incorporates a number of new ways to tame or enhance dynamics. “HPF to SC” inserts the High Pass Filter into the side chain to deal with intense low frequencies that may skew the response of the VCA with certain songs and instruments. The “Fast” switch alters the compressor’s attack to react to transients with a roughly .1ms response time. When “fast” is disengaged, the compressor responds to the RMS signal in conjunction with the attack and release settings. “Blend” works by creating a parallel mix between the compressed and dry signals. By mixing the compressed and dry signals, it is possible to increase the volume of quieter elements in the source material (for instance, delicate snare brushing on a track with much louder hits), while maintaining a natural dynamic feel for the louder elements. To further control the side chain, there is also an insert “send” and “return” that may be paired with an external EQ or other filters for additional manipulation. The “return” may also be used as a “Key” input for ducking one signal under another. (for instance, a voice-over keying the compressor to duck a background music track). By connecting the “link” jack on the back of the Portico II to another Portico II link jack and engaging the Link buttons, the compressor section may be used for stereo material.

The EQ topologies in the 4-Band Equalizer of the Portico II combine the best-loved sound of several classic designs, but are also capable of extremely fine surgical adjustments as well as dramatic boosts or cuts. By default, the EQ section follows the mic preamplifier and HPF, and precedes the compressor, but this sequence may be reversed by engaging the Post Comp switch.

The Low Shelf has an independent engage switch, Classic Peak/ Accelerated Shelf selection, with +/- 12dB level adjustment, and selectable turnover frequencies of 35, 60, 100, and 220 Hz. The Fully Parametric LMF and HMF bands have a joint engage switch, providing +/- 12dB level adjustment, continuously variable “Q” from 0.7 to 5 and continuously variable frequency ranges from 70 to 1.4KHz and 700Hz to 14KHz. In addition to its standard capabilities, the HMF band can also be used to precisely tune a new De-Esser circuit.

The De-Esser can be varied from off to full effect, and uses the Frequency, and “Q” controls to tame harsh sibilance in vocals and instruments with an independent high-mid limiter. Even when the De-Esser is on, the EQ level may still be used. The High Frequency shelf has independent engage switch, Classic Peak/ Accelerated Shelf selection, +/- 12dB level adjustment, and selectable turnover frequencies of 4.7, 6.8, 12, and 25kHz. When two Portico II Channels are used side by side, the EQ section can also excel at stereo material.

Input signals may be derived from any of three sources; Microphone, Line or DI. The Microphone input has a 10K Ohms non-reactive input resistance that handles a full 26dBu signal without the need for a pad. A primary Gain control provides 66dB of gain in 6dB increments for easy recall with a +/- 6dB Trim for fine adjustment. A transient-optimized HPF continuously covering the range from 20-250Hz is included. In addition the usual 48V Phantom Power switch, Phase Inversion, Signal Present indicator and a Mute switch are included. The pre-amp is a TLA non-reactive design that precludes the loading of microphones with limited driving capability and which maintains a 2 dB noise figure over a wide range.

Inserting a �” plug into the DI input, selects a 3MegOhm Discrete FET DI circuit that includes the transformer-coupled pristine topography that optimizes both the microphone and DI inputs, allowing low impedance microphones and high impedance sources like electric guitars and basses to deliver their optimum performance. Primary Gain and Trim controls are fully operational. A �” “Thru” jack on the front panel that duplicates the unaffected source signal allows the use of an external amplifier if required. A “Line” switch selects the independent Line XLR non-reactive input circuit that includes the HPF and Level trim controls.

Owned by Rupert and Evelyn Neve, Rupert Neve Designs Inc. was founded on passion, experience and a desire to build products embodying the highest musical quality. In continuing his legacy as a pioneer in audio circuit design, Mr. Rupert Neve is currently focusing his talents on creating further innovative designs to the benefit of the modern recording engineer.

Years after many thought the analogue console was in its final days, the forward-thinking 5088 has become an instant classic with its revolutionary 90 Volt, discrete, class-A circuit topology and modular design. With no worries about future software incompatibilities, planned obsolescence and a proven service track record, the 5088 represents a studio centerpiece that will remain current for decades.

“After redefining people expectations so many times over the past 4 decades, its astounding that Rupert has been able to raise the bar yet again.”� Said Rupert Neve Design’s Josh Thomas. “The level of support and interest in the 5088 has surpassed our wildest imagination”.

Originally conceived as a way to give engineers the most pristine mix buss available while bringing together their digital and analogue equipment without forcing the purchase of mic pre’s, eq’s and compressors on every channel, the 5088’s modular approach to console layout insures that installed 5088’s will be able to adapt as the music business changes and remain a fixture on the studio landscape for years to come.

Owned by Rupert and Evelyn Neve, Rupert Neve Designs Inc. was founded on passion, experience and a desire to build products embodying the highest musical quality. In continuing his legacy as a pioneer in audio circuit design, Mr. Rupert Neve is currently focusing his talents on creating innovative analogue solutions to the issues facing the modern recording engineer.

“We pushed the console to its limits, I think,” says Brown, a musician, engineer and producer who has worked with Smashing Pumpkins front man Billy Corgan on a variety of projects over the last 20 years. “We pretty much went crazy with it right from when we got it and did our first mix in 5.1. And we won an award for it! A big part of that mix was done old school — we didn’t use automation and used all the analog components and outboard gear that we have in the studio with the board.”

The 5088 at Coldwater Studio is outfitted with Rupert Neve Designs Portico 5033 five-ban EQ modules on every input channel, with five Portico 5043 stereo compressors in the master section, four on the groups and one on the main stereo output. The console is also configured with two 5014 stereo field editors and a pair of dual-channel 5042 “True Tape” processors. “Sonically, the board sounds fantastic,” says Brown, adding, “We used the tape simulation with the drums and bass. They added a little bit of warmth to the digital signals that we had coming from Pro Tools.”

“If All Goes Wrong” chronicles the Smashing Pumpkins’ residencies at venues in Asheville, NC and San Francisco over the course of three weeks during summer 2007. Live front of house mixer Jon Lemon and re-recording mixer Brian Slack of Widget Post Production were also honored by the CAS Award, as was Kevin Dippold, an engineer and musician who works with Brown at Coldwater Studio.

“Kerry mixed the concert and I mixed parts of the film and some of the music in the film,” reports Dippold. “We had 96 kHz/24 bit Pro Tools sessions that were set up from a series of live shows and rehearsals recorded by the Pumpkins. There must have been 48 to 60 tracks per session, so we did some pre-editing and submixing.”

The DVD was only the first of many projects featuring the Smashing Pumpkins that have been mixed on the console, Brown continues. “After that we remixed some of the catalogue songs, like ‘Bullet with Butterfly Wings and 1979 for Guitar Hero. Then we went right into a TV commercial that aired during Super Bowl.” That song, “FOL,” premiered before the kickoff of Super Bowl XLIII on a commercial for the Hyundai Genesis coupe. In March, Corgan started working at the studio, continues Brown: “We’re using the console to write and demo some new songs.”�

“We also worked with the Electric Prunes and did some private sessions,” adds Dippold, “and I’ve mixed a lot of my own music on the console. Last year we also mixed the Smashing Pumpkins’ 20th anniversary tour shows. They would record the shows 96/24 and send us the hard drives with about 60 tracks on them. We’d have to mix them and turn them around in 24 to 48 hours and post them online for sale through a website, www.nugs.net. We mixed 25 or so shows over the course of two months. It really sounded great, and a lot of people commented that it’s the best they’ve heard the Pumpkins.”

Appropriately, the console at Coldwater Studio is serial number 13 — Lucky 13� is a track by the Smashing Pumpkins that featured on the band’s free download album, Machina II, in 2000. “With the 5088 in almost constant use since being installed, Brown has certainly had nothing but good luck with it, and says, It’s been worth the investment!”

The console installation includes a producers desk, console stand and speaker-bridge, designed and built by Sterling Modular, console & studio patch bays by Audio Accessories and complete rewiring by Mogami. The control room will be equipped with new ATC Studio 100’s and Barefoot MM27s, and undergo a complete Acoustic overhaul by Ty Moyer of Acoustic Science Corporation.

The new Rupert Neve 5088 was first brought to the attention of Lyman and Ehrenberg by Vintage King Audio, the largest dealer of vintage and high-end recording equipment in the world. Infrasonic Sound serves as the equipment purveyor’s West Coast show room; Ehrenberg is Vintage King’s West Coast representative and head of Los Angeles Sales.

“In my eight years with Vintage King I have drooled over all the early model, Neve 80 series consoles that have passed through our shop. I’ve always wanted an older classic console for Infrasonic but we couldn’t budget for maintenance on top of a large console purchase,”says Ehrenberg. “The Rupert Neve 5088 exceeded my expectations of what I knew a Class A, Discrete, Transformer Balance console to sound like, and the flexibility and routing are perfect to tie the studio, our 24 track tape machine, Protools Rig, and a wall of outboard gear together.”

This re-model marks the first major structural changes at the studio since Infrasonic Sound Recording Company opened its doors in 2004. Lyman and Ehrenberg moved into the East L.A. location (once a motorcycle paint shop) and built Infrasonic’s 2,000 square foot tracking and mixing facility from the ground up, aiming for ample space and a live performance feel that clients like The Mars Volta, No Age and Wilderness have utilized. Infrasonic’s mastering suite was added in an adjacent building shortly thereafter, providing the necessary resources for direct-to-disc recording via the suite’s vintage Neumann AM-32 lathe. The location also serves as headquarters for Infrasonic Sound Recordings, the studio’s label counterpart established in 2007. In just under two years, Infrasonic has released 6 albums from Qui, Omar Rodriguez-Lopez, Moonrats and The Starlite Desperation. The label’s fulllength catalog is available on both CD and vinyl along with limited edition 7-inches and EP’s. For additional information, visit www.infrasonicsound.com.

About Rupert Neve: Owned exclusively by Rupert and Evelyn Neve, Rupert Neve Designs Inc. was founded on passion, experience and a desire to build products embodying the highest musical quality. In continuing his legacy as a pioneer in audio circuit design, Mr. Rupert Neve is currently focusing his talents on creating innovative analog solutions to the issues facing the modern recording engineer. For further details on Rupert Neve Designs, visit www.rupertneve.com.

The console purchase was made in order to realize the studio’s true potential, according to Skolnick. “We were mixing in the box and I really wanted — as an engineer, and from the standpoint of making the studio what I thought it always needed to be — to move back toward an analog mixing situation. We have all this incredible outboard gear and no one was really using any of it. It didn’t seem to make any sense. Even something simple like running your reverbs and delays outboard through an analog circuit just seems to sound better to me.”

The 5088, which was purchased from David Lyons at recording equipment specialists Sonic Circus, won out over the competition following careful evaluation and a trip to the Rupert Neve Designs facility, which is located in the Texas Hill Country between Austin and San Antonio. “One of the main reasons I picked this console was because of the sonic quality,” he says. “That was a huge priority for me when I was looking at the different console options. That’s the thing I love about this console; it’s extremely clean. It was amazing — as soon as we put it in everything sounded better: the monitoring, the CD player, the headphone system.”

Compared to mixing in the box an analog console is not only a different way of working but actually makes the production process easier, according to Skolnick. “I’m still getting used to it but my initial impressions are that it’s almost like cheating, because mixing is so much easier now. You just put the faders up, add a little bit of reverb and maybe some EQ and, wow! That’s it! Whereas before, in Pro Tools, I felt I had to constantly finesse plug-ins and try tons and tons of different things to get it to work.”

The 5088, which was installed in the 28 ft. x 20 ft. control room at the end of 2008, was an immediate hit, he reports. “Right away, everybody was really enjoying going back to working that way. There was some debate about whether to go with something that is essentially pretty old school. It really is a throwback, but it’s great because of that. When you’re working on it, it feels like a real desk — I don’ know how else to say it. It feels substantial; it’s not like working on a control surface.”

Going back to using an analog console also has a positive impact on the engineer’s creative process, he believes: “The tool affects the end result to a certain extent. When I’m making EQ or level adjustments I’m not staring at a screen and fiddling with a mouse. My head is facing forward and I make EQ decisions based on what I’m hearing rather than what the graph looks like.”

Studio A’s 30 ft. x 20 ft. live tracking space, which also features two iso booths, features a Fazioli F278 concert grand piano that is a big draw for some clients. “We’re mostly doing music production, although we do everything including voiceovers, but it primarily revolves around the local band scene. Salt Lake City is growing pretty quickly so it’s getting better and better. And we have a beautiful piano so we do a lot of classical music.”

The first session produced on the new 5088 console, which replaced a vintage Neve 8058, was by multi-Grammy Award-winning Chicago blues legend Buddy Guy for the upcoming TriStar Pictures feature film, “Cadillac Records,” which chronicles the rise of Chess Records in the 1950s. “It was a lot of fun,” says McBride, who cut his teeth at Chicago Recording Company before opening Gravity Studios 15 years ago. “He had worked here on the old console a few years ago and was really happy with how things went.”

Multi-platinum selling band Live worked on the console later that month, recording a new single and a studio track for the band’s upcoming live album release.

In addition to allowing Studio A’s control room to be remodeled (Studio B is a mastering room that also handles overdub and edit sessions), the 5088 was installed for a number of significant reasons, as McBride explains: “One of the biggest things for me was that, with our old Neve, we had delightful sounding but limited EQs. They were broad-stroke EQs and I ended up patching in surgical EQs on almost every channel at mixdown. So that was a bit of a hassle, and in addition I would end up making my critical EQ decisions while bent down over my rack, out of the sweet spot.”

Additionally, he says, “Part of it was economizing in terms of the draw of electricity and the expense of cooling down a larger console. Part of it was that we’re now, like a lot of studios, changing the way that we work to incorporate Pro Tools, so we don’t need as many console channels. I’m extremely happy with this console. There’s a lot of power that’s right there in the sweet spot.”

Before ordering the 5088 console, he recounts, “I borrowed a pair of Portico modules, the 5033 5-Band EQ and the 5032 3-Band EQ/Mic Pre, for a couple of months and compared them to what I had previously. I didn’t feel, with the ‘Silk’ button in, that there was an appreciable difference sonically between my older Neve and the current Neve in terms of the mic preamp’s tone.”

Now, he notes, with so many EQ modules installed in the console, “I no longer need to patch in the external EQs. I find I’m now able to make all those crucial decisions from the sweet spot.” McBride elaborates, “I spend a lot of time mastering as well, so I’d gotten accustomed to making those decisions from the sweet spot. Once you get used to that, it’s hard to go back to leaning over into the corner of the control room.”

It was also part of the plan to improve the ergonomics and the acoustics of the room. “We’ve already had a lot of compliments on the accuracy of the room and I think part of that is due to the treatments that we’ve made and also part of it is due to not having as many reflections off a giant console like we had previously,” he says.

Over the years McBride has worked with a variety of local artists such as Smashing Pumpkins, Rachael Yamagata, Veruca Salt, and Tub Ring. He has also mixed tracks for The Walkmen, Oh My God, Northstar and Fall Out Boy.

Owned exclusively by Rupert and Evelyn Neve, Rupert Neve Designs Inc. was founded on passion, experience and a desire to build products embodying the highest musical quality. In continuing his legacy as a pioneer in audio circuit design, Mr. Rupert Neve is currently focusing his talents on creating innovative analogue solutions to the issues facing the modern recording engineer.

For further information on Rupert Neve Designs please visit www.rupertneve.com.

The 5088 Discrete Analogue Mixer won in the field of Large Format Console Technology. With its entirely new, discrete, high-voltage architecture and modular layout, the 5088 represents a significant advance in the performance and philosophy of mixing console design. Despite the trend in recent years to cast the analogue recording console as a relic of the past, the TEC Award represents the renewed appreciation for the exceptional sound performance and timeless build quality that is still only available in the analogue domain.

“After redefining people expectations so many times over the past 4 decades, its astounding that Rupert has been able to raise the bar yet again.” Said, Rupert Neve Design’s Josh Thomas. “The level of support and interest in the 5088 has surpassed our wildest imagination”.

Originally conceived as a way to give engineers the most pristine mix buss available to bring together their digital and analogue equipment without forcing the purchase of mic pre’s, eq’s and compressors on every channel, the 5088’s modular approach to console layout insures that installed 5088’s will be able to adapt as the music business changes and remain a fixture on the studio landscape for years to come.

In the category for Mic Preamplifier Technology, the Portico 5015 won the prize for its renowned blend of performance and flexibility. With independent transformer-coupled mic preamp and compressor-limiter sections identical to those found in the 5012 and 5043 modules, the fully analogue Portico 5015 combines the outstanding sound quality expected from a Rupert Neve design with the total flexibility required by modern recording studios. Available in both Vertical and horizontal configurations, when used with the 5033 five band EQ module it is possible to create a Portico channel strip with preamplification, dynamics processing and equalization in 1RU.

Owned by Rupert and Evelyn Neve, Rupert Neve Designs Inc. was founded on passion, experience and a desire to build products embodying the highest musical quality. In continuing his legacy as a pioneer in audio circuit design, Mr. Rupert Neve is currently focusing his talents on creating innovative analogue solutions to the issues facing the modern recording engineer.