| Content | Rupert Neve Designs' Shelford Channel, over a half century in the making, is the definitive evolution of Mr. Neve's renowned 80 Series channel module technology, updated and refined for the contemporary studio. The Shelford Channel is fitted with Rupert's latest Class A transformer-gain mic preamp, the best-of-the-classics Inductor EQ from the Shelford 5052, a punchy diode-bridge compressor, the alluring analog textures of variable Silk saturation, a state-of-the-art dual-tap transformer output stage with massive headroom, and double the operating voltage of vintage designs. Offering rich tonal options for making audacious statements with your music, along with precision-detented controls for recall, the Shelford Channel delivers the authoritative sonic essence of classic Rupert Neve designs, along with modern versatility.
Input stage and transformer-gain mic pre
Rupert Neve's first new Class A, transformer-gain mic preamplifier in over 40 years makes its debut in the Shelford Channel. Rupert has spec'd this preamp with a direct-coupled transformer input; gain is provided by the custom transformer itself. The proprietary input transformer, and its meticulous integration with the surrounding Class A input amplifiers, plays an outsized role in the Channel's immediately recognizable sonics: punchy and creamy-smooth, with excellent isolation and vanishingly low noise.
The Shelford Channel's front-panel hi-Z instrument input uses the same discrete Class A field-effect transistor with transformer topology as Rupert Neve Designs' acclaimed RNDI; for gain, however, it utilizes the new RN4012 input transformer directly into the mic preamp. This design provides astonishing clarity on hi-Z sources, with substantial low-end weight and silky-smooth high frequencies. The DI also gives you a passive thru output to feed a guitar or bass amp.
- Mic-DI/Line: switches between microphone/direct injection input and line input
- GND Lift: disconnects the audio signal ground from chassis earth
- Signal LED: green indicates Signal Present; red indicates imminent input stage clipping
- Mic Gain: 12-way precision rotary, controls gain from 0dB to 66dB in 6dB steps
- Trim: rotary switch provides further continuous gain adjustment of +/-6dB
- 48V: switch engages phantom power on the mic input
- Phase: inverts the polarity of the signal path (illuminates when engaged)
- HPF Freq: engages a 12dB/octave highpass filter, variable from 20Hz-250Hz
The best-of-the-classics inductor EQ
The Shelford Channel's EQ section is a 3-band, custom-tapped inductor circuit containing Rupert's favorite bands from his vintage equalizer designs. The low-frequency band is primarily based on the 1064 — acclaimed for its creamy, resonant bass. Unlike the 1064, though, the Channel gives you added dimension, punch, and control over your low end by letting you use the LF band as either a peaking or a shelving filter. The midrange band is based on the venerable 1073 and is perfect for sweetening instruments and vocals while nudging them forward in a mix. "Proportional Q" response also makes it ideal for attenuating problem frequencies. The high-frequency band is a hybrid design with the best of vintage and modern attributes. It should be noted that this EQ is in no way a clone; it's a decidedly modern design using components and techniques that simply did not exist in the 1970s — for instance, the use of capacitor-based topologies to achieve sonic richness and enhanced control.
- EQ In: engages all EQ frequency bands except HPF
- LF: adjusts up to 15dB of boost/cut at the selected low frequency
- Low Freq: 4-position rotary switch for selecting LF band corner or center frequency
- LF Peak: selects LF shelving (out) or peaking (in) mode
- Mid Hi Q: selects between a mid-band resonance of 2 (out) or 3.5 (in)
- Mid: adjusts up to 15dB of boost/cut at selected mid frequency
- Mid Freq: 6-position rotary switch selects center frequency of the midband EQ stage
- HF Peak: selects HF shelving (out) or peaking (in) mode
- 8K/16K: selects between an 8kHz (out) or 16kHz (in) center or corner frequency for HF band
- HF: adjusts up to 15dB of boost or cut at selected high frequency
The Super Diode-bridge Compressor
Like the Shelford Channel's inductor EQ and transformer-gain microphone preamp, the diode-bridge compressor/limiter is based on the topologies found in vintage Neve designs such as the 2254. It improves, however, on the early designs by the inclusion of full-wave rectification and a bevy of new control features. Although Rupert's vintage diode-bridge compressors were prized for their warm, punchy response, they were somewhat compromised by imprecise controls, attack-time inflexibility, low headroom, and high noise. The Shelford Channel's Super Diode-bridge Compressor delivers the attitude-packed, "in your face" sound of those classics, but with modern precision and flexibility — which makes it ideal on any source. Full Side-chain and stereo Link features are provided.
- Side Chain Insert Jacks (rear-panel): for fine tuning of compressor operation
- Comp In: engages the Channel's compressor-limiter section
- Threshold: sets level where the compressor "kicks in"
- Ratio: sets compression slope from 1.5:1 (minimal) to 8:1 (heavy)
- SC Insert: inserts rear-panel sidechain insert jacks into sidechain signal path
- HPF to S/C: routes highpass filter into the circuit that compressor uses to determine level
- Gain: for adding make-up gain to compensate for level attenuation lost to compression
- Timing: 6-position rotary adjusts attack/release speed of the compressor
- Link: links the sidechain control of multiple units for ganged or stereo operation
- Pre EQ: changes the order of compressor in the circuit chain
- Blend: mixes the dry and compressed signal for handy parallel compression
- Fast: speeds up both attack and release of the selected compressor time constant
Dual-tap transformer output
The Shelford Channel's output stage serves up the inimitable sound of Rupert Neve's classic designs while providing far more tonal versatility. The dual-tap output for the RN2042 square-core output transformer provides both high- and low-headroom outputs without compromising performance. The high-headroom tap takes advantage of the Shelford's higher-voltage design, delivering a pristine sound without non-linear output-stage coloration at high levels. The low-headroom tap, on the other hand, lets you drive the full voltage range of the Channel to accentuate this non-linear harmonic content — without clipping most pro interfaces. For vocals, drums, guitars, bass, and other instruments, this output lets you hit the transformer's sweet spot, which can inject life into a recorded performance in a way that other effects cannot.
The Silk and Texture controls
The Shelford Channel is packing a secret weapon the classics never had: its output transformer features the Silk Red/Blue and Texture controls from the Portico II Series that let you tailor the harmonic content and tonality of the output stage. By engaging these controls and sufficiently driving your output, you can dial in delectable 2nd- and 3rd-order harmonic distortion (that's the good kind) and saturation of the output transformer, imbuing your tracks with juicy rich thickness (think: 1073 on steroids) — with no danger of overloading the output stage. The Silk Red mode emphasizes harmonic content generated by the source's high frequencies; Blue mode, conversely, works off the low frequencies. The Texture knob controls the amount of added harmonic content. Disengage Silk, and your output is pristine and modern, while retaining Rupert's bigger-than-life transformer sonic signature.
The magical sound of Neve
Rupert Neve is an audio legend whose electronics designs defined the golden age of analog. Those of us at Sweetwater who have had the privilege of working on a Neve 8078 or its predecessors can attest to the fact that Neve's Series 80 consoles were indeed the pinnacle of hand-wired analog mixing desks. Mr. Neve has remained at the forefront of audio-circuit innovation for over half a century, and his 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.
Rupert Neve Designs Shelford Channel Features:
- The definitive evolution of Rupert Neve's renowned 80 Series channel module technology
- A complete channel strip that delivers the essence of classic designs, along with modern versatility
- Input stage and transformer-gain mic pre
- Front-panel hi-Z direct input
- Best-of-the-classics inductor EQ
- Super Diode-bridge Compressor
- Dual-tap transformer output
- Silk and Texture controls
| Rupert Neve Designs RNHP is a state-of-the-art headphone amplifier. Now when Mr. Neve turns his attention to anything, you know it's going to be good. And spectacularly so. What the RNHP delivers is reliable, reference-grade amplification for any pair of headphones. Based on the headphone amp in the RND 5060 Centerpiece, the dedicated 24-volt design is spec'd with calibrated +4dBu Line, RCA, and 1/8" stereo inputs. Everything's housed in a road-tough, VESA-mountable steel chassis. The unit's effortless sonic performance and the ability to drive virtually any 'phones without compromise let you perform, mix, and savor your music with stunning clarity.
Rupert Neve Designs RNHP at a Glance:
- Unerring accuracy for better performances
- The benefits of near-zero-ohm output impedance
Unerring accuracy for better performances
You know you perform your best when your cans sound great - and that's where the RNHP can make a huge difference. Many integrated headphone amps are plagued with a non-linear frequency response, as well as noise, distortion, and skimpy headroom. To some, these units' lackluster sonic performance may seem "close enough for rock 'n' roll," however at Sweetwater, we believe there is the performer's subconscious response to consider. After all, if you're not inspired by what you're hearing, your performance will suffer.
The benefits of near-zero-ohm output impedance
Rupert Neve Designs spec'd the RNHP with near-zero-ohm output impedance to minimize frequency-based reactive-load impedance shifts - a problem unique to headphone monitoring. This ensures accurate sound reproduction, which is obviously important if you need to trust the decisions you make with headphones. You'll find the RNHP's unerring accuracy beneficial when you're using just one set of cans, and also when you're comparing a mix on multiple pairs of headphones.
Rupert Neve Designs RNHP Features:
- Reliable, reference-grade amplification for any pair of headphones
- Based on the headphone amp in the RND 5060 Centerpiece
- Effortless sonic performance
- The ability to drive virtually any headphones
- Dedicated 24-volt design
- Calibrated +4dBu Line, RCA, and 1/8" stereo inputs
- Near-zero-ohm output impedance minimizes frequency-based reactive-load impedance shifts
- Road-tough, VESA-mountable steel chassis
| The versatile amplifier for powering all your entertainment.
- Enjoy high-fidelity performance with 125 Watts per channel
- Power your bookshelf, floor-standing, in-wall, and in-ceiling speakers
- Stream everything you love with the Sonos app and AirPlay Connect your TV to create the ultimate entertainment system
- Amp is built to last and improve over time
Upgrade your wired speakers
Connect everything from your turntable and stereo to your wired speakers to enjoy vinyl, CDs, stored audio files, and streaming. You can even power outdoor speakers and expand your Sonos system to the backyard.
Amplify your TV experience
Enjoy stereo sound for shows, movies, and video games when you connect Amp to your speakers and TV. Wirelessly add a pair of Sonos One surrounds for immersive home theater.
Designed to keep cool
The rack-mountable design features a specially developed heatsink for optimized airflow and heat management.
Key Specs
Continuous Watts x Channel @ Ohms: 125 x 2 x 8
Input(s): Ethernet, HDMI, RCA
Audio
Continuous Watts x Channel @ Ohms: 125 x 2 x 8
Total Power Handling: 250 watts
Number of Channels: 2.1
Impedance: 8 ohms
Amplifier Class: D
Features
App-Controlled: Yes
Featured Streaming Services: Apple Music, Pandora, Spotify, YouTube
Wi-Fi Built-in: Yes
Dimensions: 2.52" x 8.54" x 8.54"
Weight: 4.6 pounds | Firmly rooted in six decades of console design experience, the 5057 Orbit gives your mixes the legendary tonality, power, and wide-open soundstage that only Rupert Neve’s class-A analog summing can provide. Coupled with Rupert’s famous custom audio transformers and Silk Red & Blue circuitry for variable harmonic saturation, the Orbit launches sterile in-the-box mixes to new heights of tone, depth and clarity – without compromising the recallable convenience and repeatability of your DAW-based workflow.
When you push a mix buss and output transformers towards saturation, the non-linear, musical harmonics that occur are what truly glue a recording together and bring it to life.
Rather than using an external summing solution that offers little more than an ultra-clean representation of the in-the-box experience, the Orbit provides the extraordinary richness, harmonic complexity and depth that only a Rupert Neve console can bring to your mixes.
The Orbit utilizes a highly custom output transformer configuration originally developed for the acclaimed Shelford Channel, which provides both a Main Output and a -6dB Output – the latter of which enables you to fully drive the Orbit to achieve more transformer harmonics without clipping the next device in the chain. This unique transformer drive is a hallmark of the sound of Rupert Neve throughout the years – and the sound of countless classic hit records.
Classic Sounds on Demand
Every mix demands its own treatment. In addition to the choice of outputs, the continuously variable Texture control with Silk Red and Silk Blue modes gives you complete control over the harmonic density and tonality of your mix – or lets you keep it utterly pristine and uncolored.
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” 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 mix buss hard, choose your Silk flavor, and crank the Texture knob for a rich, saturated, vintage vibe – or disengage Silk entirely for clear, wide-open sonic beauty. The choice is yours.
Build your Dream
While the Orbit is an extremely effective tool on its own, multiple units can be combined through the Buss Link for a higher channel count. The 5057 Orbit can also be used as a building block in an expandable summing system utilizing the 5059 Satellite for flexible summing & routing, and the 5060 Centerpiece for additional mixing and monitoring features.
These units create the core of a world-class analog modular console system rivaling any traditional large-scale studio setup.
Channel Separation and Accuracy
With precisely fixed channel levels and accurate mix buss attenuation via high-quality stepped switching, the Orbit’s purist signal path has vanishingly low crosstalk, and channels matched to within +/-0.1dB. This provides your mixes with the widest and most accurate stereo image, the greatest depth, and the most direct signal path, allowing you to hear every single detail of your mixes.
DAW Based Recall without Compromise
Frequent recalls can be a challenge for modern mix engineers. The Orbit’s elegant simplicity and fixed level accuracy provides rapid, repeatable DAW-based recall from mix to mix, while adding the rich, unrivaled sound quality of Mr. Neve’s class-A transformer-coupled mix buss.
INPUT IMPEDANCE
16K Ohm
FREQUENCY RESPONSE
- 10 Hz to 50 kHz: +/- 0.1 dB
- 150 kHz: -3 dB
NOISE
- From 22 Hz - 22 kHz.
- -90 dBu typical
MAXIMUM INPUT LEVEL
@ 1 kHz: +26 dBu
MAXIMUM OUTPUT LEVEL
@ 1 kHz: +26 dBu
THD+N%
- From 22 Hz - 22 kHz.
- 0 dBu @ 1 kHz: 0.003%
- +20 dBu @ 1 kHz: 0.0006%
CROSSTALK
- 1 kHz: -103 dBu
- 10 kHz: -93 dBu
PRODUCT DIMENSIONS
19” W (48.3 cm) x 9” D (22.9 cm) x 1.75” H (4.4 cm)
SHIPPING DIMENSIONS
24” L (61 cm) x 13” W (33 cm) x 4” H (10.2 cm)
SHIPPING WEIGHT
10 lbs (4.5 kg) | The TB12 Tone Beast Black is a fully professional preamp design with loads of gain that can effortlessly capture an array of sources very well. It is a swiss army knife full of options and tones. With top notch CineMag transformers and multiple discrete signal paths, it's hard to beat the Tone Beast's big, bold, fully-professional sound at this price.
The Tone Beast Black is a mic pre that likes to be pushed and when pushed will colorize your signal ever so sweetly. The 2 opamps and 2 output transformers at the flip of their switches won't appear to be much different, but as one drives the pre into harmonic distortion, the unique character of each of these components becomes apparent. The Tone Beast Black is customizable and allows users to source and swap in their own opamps. The output control on the TB12 allows you to limit the signal exiting the preamp even when pushing the gain to really hot levels, giving you maximum control.
When designing the TB12 Tone Beast Black our goal was to make a microphone preamplifier affordable and jam packed full of options, without compromising the quality and design parameters that make this type of microphone preamplifier so desirable.
The TB12 "Tone Beast Black" is a fully discrete, high-voltage microphone preamplifier, utilzing CineMag USA Transformers. Have no fear of hurting the Beast, you can push it very hard into full-on distortion if you wish, and these can sound quite nice on electric guitar, bass or anything else that likes some grit.
The different component options in the TB12 are subtle, but when driven into saturation are noticeable and can make a big difference to the way your final mix will sound. Home-based musicians and professional studios alike will find the Tone Beast Black to be an extremely powerful and fully professional piece of gear that is capable of warming and shaping signals/mixes in a way that is very pleasing to the ear.
- 71DB OF GAIN
- TRANSFORMER SELECTION PROVIDES BOTH STEEL AND 50% NICKEL CINEMAG OUTPUT TRANSFORMERS FOR VARYING CHARACTER
- TRANSFORMER BYPASS SWITCH ALLOWS FOR REMOVAL OF THE OUTPUT TRANSFORMER FROM THE CIRCUIT
- DISCRETE OPAMP SELECTION ALLOWS FOR CHOOSING BETWEEN A 1731(VINTAGE) AND 918(CLEANER) STYLE OPAMP. THESE ARE SOCKETED/SWAPPABLE WITH YOUR CHOICE OF 2520 6 PIN FOOTPRINT OPAMPS
- IMPEDANCE SWITCH LABELED TONE TO SWITCH BETWEEN 150 AND 600 OHMS INPUT IMPEDANCE
- 2 MEG OHM TRUE HI-Z INPUT ON FRONT PANEL SENDS INSTRUMENT SIGNAL THROUGH ENTIRE CIRCUIT INCLUDING BOTH CINEMAG TRANSFORMERS AND THE DISCRETE OPAMPS. GREAT FOR GUITARS, BASS, KEYBOARDS AND OTHER INSTRUMENTS THAT HAVE A 1/4″ OUTPUT JACK
- 80HZ HIPASS FILTER
- POLARITY REVERSE
- UTILIZES PREMIUM GRADE CINEMAG USA TRANSFORMERS
- +48V PHANTOM POWER
- OUTPUT ATTENUATION ALLOWS FOR SATURATION FLEXIBILITY OF BOTH OPAMPS AND TRANSFORMERS
- ¼" INSERT FOR THE USE OF INLINE COMPRESSORS, EQ'S ETC
- BALANCED XLR MIC (FRONT AND BACK), BALANCED TRS LINE, AND ¼" UNBALANCED INSTRUMENT INPUTS
- BALANCED XLR AND TRS OUTPUTS
- -20DB PAD
- LED VU METER
- 19" RACKMOUNTABLE
- SWITCHABLE 115/230 VOLT IEC POWER INLET.
- CAPACITOR SELECTION BETWEEN TANTALUM AND ELECTROLYTIC FOR DIFFERENT CHARACTERS
| The vintage EQ tones you know & love.
The 551 is the only equalizer for the 500 Series actually designed by Rupert Neve. Featuring 3 bands of EQ inspired by Mr. Neve’s most prized vintage designs, along with custom-wound inductors, transformers and class-A gain blocks, the 551 brings the thick, powerful lows and sweet highs of Rupert’s classics to the 500-Series format.
The “Best-Of” EQ
The 551’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 551 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. The High Pass filter is a 12dB/octave design with a fixed 80Hz frequency, and can be used in tandem with the low frequency EQ to add low-end presence without clouding the source material.
As with Rupert’s most prized classic designs, each EQ section uses low-feedback, class-A discrete electronics to prevent low-level artifacts and harshness from detracting from the tonal shaping. However, this new circuit is a decidedly modern design with updated techniques and components that were simply not available 50 years ago, and is definitely not a “clone”.
What Are Inductors?
Inductors are wires wound around a coil that provide a form of frequency-dependant resistance. When they saturate, they bring out beautifully musical harmonics that give your tracks the smooth, polished sound that has made Rupert’s consoles and equipment so desirable for over fifty years. This is what makes them different from capacitor-based EQ designs, which do a great job at surgical equalization. But inductors provide the tone.
While it is certainly possible to create a functioning EQ using off-the-shelf inductors, we choose to use our own custom inductors for the 551. This attention to detail in controlling variables such as the winding and core materials in relation to the surrounding circuitry allows the 551 to capture the vitality and personality of Rupert’s classic designs.
NOISE
- Measured at Main Output, un-weighted, 22Hz-22kHz, source impedance 40 Ohm balanced.
- Better than -102 dBV
FREQUENCY RESPONSE
Main output, no load: +/- 0.1 dBu from 20 Hz to 31.5 kHz, -1 dB @ 120 kHz
MAXIMUM OUTPUT LEVEL
23.25 dBu
TOTAL HARMONIC DISTORTION AND NOISE
- @ 1 kHz, +20 dBu output level, no load: Better than 0.0025%
- @ 20 Hz, +20 dBu output level, no load: 0.13% Typical (2nd and 3rd harmonic)
HIGH PASS FILTER
- -2.7 dB @ 80 Hz
- Slope: 12 dB/Octave
NOISE
- Measured at Main Output, un-weighted, 22 Hz - 22 kHz, source impedance 40 Ohm balanced.
- Better than -94 dBV
FREQUENCY RESPONSE
Main output, no load: +/- 0.25 dBu from 20 Hz to 45 kHz, -2 dB @ 120 kHz
MAXIMUM OUTPUT LEVEL
23 dBu
TOTAL HARMONIC DISTORTION AND NOISE
- @ 1 kHz, +20 dBu output level, no load: Better than 0.009%
- @ 20 Hz, +20 dBu output level, no load: 0.13% Typical (2nd and 3rd harmonic)
POWER REQUIREMENTS
- 120mA on +16VDC
- 110ma on -16VD
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