| Content | Rupert Neve Designs R6 500 Series chassis is a 6-space, steel rack enclosure that sports XLR, TRS, and DB-25 I/O to work with any studio setup. To ensure your modules are properly powered, the R6 has 150% of the required current, so you'll never be underpowered. It also has a built-in LED display to show current consumption and a double-shielded internal power supply that won't add any interference or unwanted noise to your signal. Rupert Neve is an audio legend. So you know when he designs a 500 Series chassis, it's top-shelf, all the way. Give your 500 Series modules the pampering they deserve with the Rupert Neve Designs R6 500 Series rack.
Genius in the details
With the Rupert Neve Designs' RND R6, there's genius in the details. The R6's double-shielded internal power supply was meticulously designed to avoid magnetic induction in any of its module slots. The power supply is a Switchmode type, and great care was taken to ensure that the frequencies are considerably outside the audible band. There's an internal jumper configuration that makes it easy to link slots in pairs. It's even fitted with variable-position screw holes that slide to accommodate modules that are slightly out-of-spec, which makes the insertion of modules quick and easy. Trust Sweetwater: when it comes to 500 Series racks, the RND R6 is as good as it gets.
Rupert Neve Designs RND R6 500 Series Rack Features at a Glance:
- Supplies 150% of the required current
- LED current consumption meter displays available current
- XLR, TRS, and DB-25 I/O
- Variable-position screw holes make for quick and easy module insertion
- Double-shielded internal power supply designed to avoid magnetic induction in module slots
- Switchmode PSU with frequencies considerably outside audible band
- Internal jumper configuration lets you link slots in pairs
| The Shelford Channel is built around Rupert Neve’s first new transformer-gain, class-A microphone preamplifier in over 40 years, a “best-of-the-classics” inductor EQ section, a tone-packed diode bridge compressor, the power of variable Silk saturation, a new dual-tap transformer output stage, and twice the operating voltage of vintage designs.
The Input Stage and Transformer Gain Mic Pre
Like Rupert’s designs from his time in Little Shelford , the Shelford Channel’s preamplifier uses a directly-coupled transformer input with gain provided by the custom transformer itself – a first in over 40 years for Rupert Neve. This new custom-designed input transformer, along with its careful integration with the surrounding class-A circuitry, is critical to the Channel’s bold and instantly recognizable character.
Conveniently, the Direct Input uses the same topology as the best-selling RNDI Active Transformer Direct Interface, providing astonishing clarity for high-Z instrument signals, with unparalleled low-frequency response and an incredibly smooth high end.
What is Silk?
The Silk & Texture circuit on the Shelford Channel allows you to fine-tune the amount (and type) of harmonic content in the output stage. This means your signal can be adjusted from quite transparent to settings that produce nearly 10x the amount of sonic color as Rupert’s vintage modules – and in two very unique modes. No matter what sound you’re looking for, Silk can help get you there.
The Dual Tap Transformer Output
Complementing the Silk circuit is the custom-designed output transformer, which uses Rupert Neve Designs’ unique dual-tap output topology. This offers both full-headroom (+26dBu) and -6dB outputs, allowing the engineer to drive the unit fully into classic transformer saturation without clipping converters and other devices later in the chain.
The “Best-Of” EQ
The Shelford Channel’s 3-band, custom-tapped inductor EQ was inspired by our favorite elements of Rupert’s vintage EQ designs. The low frequency band is designed to produce a creamy, resonant bass response similar to a vintage 1064 – but unlike the vintage modules, the LF band on the Shelford Channel can be used as either a shelf or a peak filter, adding punch, dimension, and control to your low end.
The midrange band is based on that of the 1073, ideal for sweetening vocals and instruments while bringing them forward in a mix, and its proportional “Q” response makes it well-suited for minimizing problematic frequencies. The high frequency band is a hybrid vintage / modern design, blending inductor circuitry with capacitor-based topologies to achieve vintage tones with enhanced control, with the shelf / peak corner switchable between 8K or 16K.
The Diode Bridge Compressor
Like the Inductor EQ and Transformer Gain microphone preamp, the Diode Bridge Compressor in the Shelford Channel is based on the same topologies found in Rupert’s vintage designs – but refined & adapted for the modern engineer.
What is diode bridge compression? Where the VCA compressor found in the Master Buss Processor provides unmatched clarity, the weighty, harmonically rich tonality of diode bridge compression can be essential in pushing key sources like vocals, electric guitars, bass and drums to the forefront of a mix.
By understanding the limitations of vintage units like the legendary 2254, painstaking effort was taken to reproduce the unique tone of these classics while improving the noise floor & accuracy, expanding inflexible time constants, adding full wave sidechain detection for improved dynamic response, and widening the range of threshold and ratio controls.
Delivering the powerful sound of these iconic designs with enhanced flexibility for the modern age, the Shelford’s diode bridge compressor is a dynamic tool equipped to make a statement on virtually any mix or track.
MIC PREAMP
INPUT IMPEDANCE
2200 Ohm
MAXIMUM INPUT
- +21.5 dBu from 150 Hz to 22 kHz
- +8 dBu 20 Hz to 22 kHz
NOISE
- Un-weighted, 22 Hz-22 kHz, source impedance 150 Ohm balanced.
- Main Out @ unity gain -100.9 dBu
- -6 dB Out @ unity gain -106.6 dBu
- +30 dB gain (Main Out) -91.37 dBu
- +66 dB Gain (Main Out) -64.1 dBu
- Equivalent Input Noise -121.37 dBu
FREQUENCY RESPONSE
+/-0.25 dB from 17 Hz to 45 kHz
DIRECT INPUT
MAXIMUM INPUT
8 dBu @ 20 Hz to 120 kHz
NOISE (MAIN OUTPUT)
-100 dBu (22 Hz to 22 kHz)
LINE INPUT
MAXIMUM INPUT LEVEL
+30.5 dBu 20 Hz to 30 kHz
TOTAL HARMONIC DISTORTION AND NOISE
- @ 1 kHz, +20 dBu output level, no load: Better than 0.002%
- @ 20 Hz, +20 dBu output level, no load: 0.05% Typical (2nd and 3rd harmonic)
NOISE (MAIN OUTPUT)
Un-weighted, 22 Hz - 22 kHz, source impedance 40 Ohm balanced, no load.
-101.1 dBu
FREQUENCY RESPONSE
+/- 0.25 dBu from less than 10 Hz to 110 kHz
-0.32 dB @ 120 kHz
MAXIMUM OUTPUT LEVEL
+26 dBu @ 16 Hz to 20 kHz
TOTAL HARMONIC DISTORTION AND NOISE WITH SILK ENGAGED
RED
- MIN TEXTURE @ 100 Hz, +20 dBu input level, no load: 0.0131%, mostly 3rd harmonic (typical)
- MAX TEXTURE @ 100 Hz, +20 dBu input level, no load: 1.66%, mostly 2rd harmonic (typical)
BLUE
- MIN TEXTURE @ 100Hz, +20 dBu input level, no load: 0.0079%, mostly 3rd harmonic (typical)
- MAX TEXTURE @ 100Hz, +20 dBu input level, no load: 0.941%, mostly 2rd harmonic (typical)
HIGH PASS FILTER
- Continuously variable swept frequency from 20 Hz to 250 Hz.
- Slope: 12 dB/Octave
EQ NOISE
Un-weighted, 22 Hz-22 kHz: -92 dBu
SIGNAL PRESENT
Illuminates GREEN when input stage signal level reaches -20 dBu
OVERLOAD INDICATOR
Illuminates RED when input stage signal level reaches -23 dBu
DIODE BRIDGE COMPRESSOR
- NOISE (BW 22 Hz – 22 kHz)
- 0 dB Makeup Gain: -84.5 dBu
- +20 dB Makeup Gain: -64.2 dBu
TIME CONSTANTS
- Measurements taken represent full range achievable between 1.5:1 Ratio and 8:1 Ratio setting.
- 0 dBu I/P 1kHz Burst Tone used for all recorded measurements.
- Fast (TC1): Attack 180µS — 1.8mS // Release 100mS – 150mS
- MedFast (TC2): Attack 750µS – 5.25mS // Release 160mS – 250mS
- Med (TC3): 2.7mS – 18mS // Release 350mS – 525mS
- MedSlow (TC4): 4.6mS – 38mS // Release 600mS – 1 S
- Slow (TC5): 11mS – 72.5mS // Release 800mS – 1.25 S
- Auto (TC6): 5.75mS – 35.5mS // Release T1 400mS – 850mS, T2 TBD
- “Fast” Mode Multiplier: Modifies aforementioned TC’s by 70% of original value
PRODUCT DIMENSIONS
19” (48.3 cm) x 10.5” (26.7 cm) x 1.75” (4.4 cm) | Working inside the box? Sweetwater would like to recommend a summing mixer that will seriously up your game: the Rupert Neve Designs 5059 Satellite Shelford Edition. If you record and mix entirely within your DAW, you’re hampered by the inability to leverage the sonic advantages of high-quality analog outboard gear. Enter the 5059 Satellite. The 5059 gives you 16 channels — each with individual level and pan, plus insert and bus-2 send buttons. You get two stereo buses with RND’s proprietary Silk Texture controls, giving you effortless integration with outboard equipment, total control for two separate stem mixes, and the facility to dial in harmonic enhancement in two distinct flavors.
It’s a Neve
In serious audio circles, Rupert Neve needs no introduction. Large-format Neve consoles from the 1970s are considered by many to be the pinnacle of analog mixer design. Boasting the same design heritage and sonic perfectionism that went into the boards used to record countless hit records, the 5059 Satellite Summing Mixer graces your tracks with legendary Rupert Neve warmth, punch, and presence. With 16 channels of Rupert Neve designed Class A alchemy and flexible tonal and routing options, the Rupert Neve Designs 5059 Satellite Summing Mixer will take your DAW-based studio’s sound to a whole new level.
Dial in the Silk
The Rupert Neve Designs’ 5059 Satellite Summing Mixer’s continuously variable Texture controls with Silk and Silk+ modes let you fine-tune the harmonic ratio and tonality of each of 5059’s stereo buses. The Silk mode adds sparkle to your tracks by introducing alluringly airy transformer saturation in the high frequencies. Silk+ mode accentuates saturation in the low frequencies, adding density and thickness to the source — particularly desirable when you’ve got a dry, lackluster mix. Distinctly different sounding from equalization, Texture saturates the output transformers, adding sweet, musical even-order harmonics to your source material for authoritative, radio-ready mixes that blast right out of the speakers.
Flexibility: it’s a beautiful thing
The dual stereo outputs of the Rupert Neve Designs 5059 Satellite Summing Mixer are perfect for creating stem mixes, which you can enhance using the 5059’s Silk/Texture controls, then process through bus compressors or other devices via the inserts, finally feeding into the inputs of another mixer or your interface. You can send any input to stereo bus 1 or 2, and create two very different-sounding mixes from the same 16 channels. These are just some examples of the amazing flexibility you’ll enjoy when integrating the 5059 into your recording rig. Smartly attired in classic Shelford livery, the Rupert Neve Designs 5059 Satellite Summing Mixer is housed in a rugged, fan-cooled 2U steel chassis for dependable, no-compromise professional performance year after year, in the studio or on the road.
The legend continues
Rupert Neve’s 80-series consoles had a huge, punchy, and authoritative sound that defined the sound of ’70s rock. From London to New York to Los Angeles and beyond, top studios were installing Neve boards as fast as they could. By 1977, with the introduction of the NECAM automation system, 80-series boards were the main component of the success formula for any recording studio with world-class aspirations. Mr. Neve’s current company, Rupert Neve Designs, continues to advance the state of the art with cutting-edge products that sound incredible and intelligently address the challenges of the digital age. With your Rupert Neve Designs 5059 Satellite Shelford Edition from Sweetwater, the legend continues.
Rupert Neve Designs 5059 Satellite Summing Mixer Shelford Edition Features:
- Classic Neve: Class A, all transformer-balanced, and awesome-sounding
- Zero crossover distortion and unmatched purity
- Custom transformers provide galvanic isolation and serve up "larger than life" sound
- Sets a standard for rackmountable summing mixers
- 16 inputs/channels (with level controls, pans, and inserts); 2 stereo buses
- Send any input to stereo bus 1 or 2, each with variable Silk/Silk+ Texture
- Dual Stereo Outputs let you split the input channels into 2 stems for further processing and mixing
- Stereo buss 1 and 2 each has its own XLR outs
- DB-25 line input, insert send/return connectors
- Rugged 2U fan-cooled chassis, clad in classic Shelford livery
| In addition to the 100% analog tape emulation circuitry – great for bringing out 3rd-order harmonics – the 542 incorporates a soft-clip circuit that tames the harshest sources and enhances 2nd-order harmonics, variable Silk Red & Blue for an infinite variety of transformer tones, and a blend control to dial in in the perfect amount of saturation.
Transformers Imitating Tape
Unlike digital emulations, the “True Tape” drive circuit works by feeding a custom-designed interstage transformer acting as a “record head”, which in turn is coupled to a correctly-equalized replay amplifier. As the voltage rises on the “record head”, saturation increases, and a soft clip circuit engages at higher levels to round off peak transients. The sound of the tape circuit can be further modified with selectable 15 / 30 IPS modes and a pre/post-tape blend control.
What is Silk?
In addition to the tape circuit, the continuously variable Texture control with Silk Red and Silk Blue modes provides a whole other level of control over the harmonic density and tonality of your tracks & mixes. The Silk Red mode accentuates transformer saturation in the high and high-mid frequencies to amplify the vibrant midrange harmonics associated with Rupert’s vintage equipment, while Silk Blue accentuates saturation of the lows and low-mids to add thickness and weight to any source – especially useful for “thin-sounding” tracks or mixes. Unlike EQ, these Silk & Texture controls saturate the output transformers, and add highly musical harmonics to the source material according to the amount of Texture applied.
Drive the 542 hard, choose your Silk flavor, and crank the Texture knob for a rich, saturated, vintage vibe – or disengage Silk entirely for a more purist, hi-fi tape effect. The choice is yours.
LINE AMP NOISE
- Measurements with tape circuit disengaged. Measured at Main Output, un-weighted, 20 Hz - 22 kHz, Input Terminated 40 Ohm.
- Unity Gain: Better than -100 dBV
FREQUENCY RESPONSE
- Measured at +10 dBu, trim at unity.
- Main Output: +/- 0.25 dB from 5 Hz to 60 kHz, -2 dB @ 120 kHz
MAXIMUM OUTPUT LEVEL
23.25 dBu
TOTAL HARMONIC DISTORTION AND NOISE
- @ 1 kHz, +20 dBu output level: Better than 0.002%
- @ 20 Hz, +20 dBu output level: 0.07% Typical (2nd and 3rd harmonic)
TAPE FX SPECIFICATIONS
NOISE
- Measured at Main Output, un-weighted, 20 Hz - 22 kHz, Input Terminated 40 Ohm.
- Saturation @ minimum: Better than -100 dBu
- Saturation @ maximum: Better than -100 dBu
FREQUENCY RESPONSE
- 15 IPS, Input @ -0 dBu: -3 dBu @ 28 kHz
- Saturation @ minimum: 0 dBu @ 10 Hz
- +5 dBu Peak @ 60 Hz Saturation @ maximum: -3 dBu @ 20 kHz
- -3 dBu @ 12.5 Hz
- +2.4 dBu Peak @ 60 Hz
- 30 IPS, Input @ -0 dBu: -3 dBu @ 120 kHz
- Saturation @ minimum: -3 dBu @ 10 Hz, +3.15 dBu Peak @ 125 Hz
- Saturation @ maximum: -3 dBu @ 100 kHz
- -3 dBu @ 12.5 Hz
- +1.3 dBu Peak @ 110 Hz
TOTAL HARMONIC DISTORTION AND NOISE
15 IPS
- Input @ -0 dBu: 0.4% @ 3 kHz to 1% @ 175 Hz typical Saturation @ minimum: Greater than 1% below 175 Hz typical
- Saturation @ maximum: 1% at 6 kHz typical, 0.3% @ 1 kHz to 3% @ 50 Hz typical
30 IPS
- Input @ -0 dBu: 1% at 1 kHz typical
- Saturation @ minimum: 0.6% @ 400 Hz to 5% @ 20 Hz typical
- Saturation @ maximum: 1.5% @ 20 kHz to 0.4% @ 1 kHz typical, 0.4% @ 1 kHz to 2% @ 50 Hz typical
POWER REQUIREMENTS
Supplied by 500 series rack with 110-125 mA @ +/- 16V DC | Originally developed for the dynamics circuit of the acclaimed Shelford Channel, the 535 Diode Bridge Compressor captures the soul of Rupert Neve’s original 2254 compressor while providing modern updates including advanced timing control, significantly lower noise, fully stepped controls throughout, and internal parallel processing capabilities.
What is diode bridge compression?
Where the VCA compressor found in the Master Buss Processor provides unmatched clarity, the weighty, harmonically rich tonality of diode bridge compression can be essential in pushing key sources like vocals, electric guitars, bass and drums to the forefront of a mix.
By understanding the limitations of vintage units like the legendary 2254, painstaking effort was taken to reproduce the unique tone of these classics while improving the noise floor & accuracy, expanding inflexible time constants, adding full wave sidechain detection for improved dynamic response, and widening the range of threshold and ratio controls.
Delivering the powerful sound of these iconic designs with enhanced flexibility for the modern age, the 535 Diode Bridge Compressor is a dynamic tool equipped to make a bold statement on virtually any mix or track.
LINE INPUT TO LINE OUTPUT
- Compressor Bypassed.
- Z source = 40 Ohm Balanced
INPUT IMPEDANCE
10K Ohm
OUTPUT IMPEDANCE
40 Ohm
MAXIMUM INPUT LEVEL
+23.5 dBu
MAXIMUM OUTPUT LEVEL
+23.5 dBu
NOISE
- 22 Hz - 22 kHz BW.
- -101 dBu
FREQUENCY RESPONSE
- 10 Hz - 120 kHz, 30ft Output XLR Cable.
- +/- 0.25 dB
THD+N
- @ 1 kHz @ Maximum Output Level, 22 Hz - 22 kHz BW.
- 0.001%
| Comprised of a rugged, portable chassis with world-class preamp, compressor and DI circuits as well as two channel operation, Vari-phase, Silk and DI/mic blending capabilities, the Portico 5017 is an innovative and powerful tool for recording or live performance.
FREQUENCY RESPONSE
- Main Output, no load.
- -0.2 dB @ 10 Hz
- -3 dB @ 160 kHz
NOISE
- Measured at Main Output, unweighted, 22 Hz - 22 kHz. Terminated 150 Ohm.
- With gain at unity better than -100 dBu
- With gain at 66 dB better than -62 dBu
- Equivalent Input Noise better than -128 dBu
NOISE FACTOR
1.5 dB
HIGH PASS FILTER
80 Hz, 12 dB/Octave Bessel
MAXIMUM OUTPUT LEVEL
Maximum output from 20 Hz to 40 kHz is +23 dBu
TOTAL HARMONIC DISTORTION AND NOISE
- @ 1 kHz, +20 dBu output: Main Output: Better than 0.001%
- @ 20 Hz, +20 dBu output: Main Output: Better than 0.002%
SILK ENGAGED
Better than 0.2% Second harmonic
COMPRESSOR
THRESHOLD
Continuously Variable from -20 dBu to +10 dBu
RATIO
Fixed at 2:1
ATTACK & RELEASE
- FAST MODE: Attack 40ms , Release 40ms
- SLOW MODE: Attack 100ms , Release 350ms
PHANTOM POWER
+48 Volts DC +/- 1%
POWER REQUIREMENTS
12VDC is optimal voltage, but 9-15VDC is acceptable
CURRENT CONSUMPTION
- @ 9VDC Current is 1.3 A typical: Power = 11.7W
- @ 12VDC Current is 1.0 A typical: Power = 12.0 watts
- @ 15VDC Current is 800 mA typical: Power = 12.0 watts
DIMENSIONS
7.5″ (deep) x 6.5″ (wide) x 2″ (high) |
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