Neve preamp

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Zaryada	Similar Products. No personal data is transmitted from our side to Facebook. When the name Heil started aegis ii up around recording studios in conjunction with an interesting take on large diaphragm dynamic aegis ii a few years back, it was not a new name to those with a This cumulative layering of color on every track is a big part of what makes a record tracked and mixed on a vintage Neve console sound the way it does. Seen a better price? For a more convenient implementation of discounts, we occasionally use cookies which guarantee the discount through a so-called affiliate program through the link of origin.
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In addition to a single gain control knob, which can be used to drive signals until they saturate, the also features a three-band semi-parametric EQ and selectable high-pass filter. The top EQ band controls a fixed shelf at 12 kHz. The midband controls a bell curve with selectable frequencies at.

The low band controls a shelf with selectable frequencies at 35, 60, and Hz. The selectable high-pass filter can be set at 50, 80, or Hz. We put some of our favorite style plugins through the paces on drums, bass, guitars and vocals with the following settings:. In terms of features, the UAD sticks very closely to the original design. The only new features are an impedance switch and a switchable dB pad. First, the FG, available as part of the Virtual Console Collection, offers simple drive and trim controls for emulating the dual-stage red band preamp of the Finally, the Virtual Channel and Virtual Mixes plugins, both available in the Virtual Console Collection, feature Brit-N settings for emulating the channel circuitry and summing characteristics of using running a signal through a Neve console.

The FG is set to 20 the minimum setting. Although the British-E is only a small portion of what this powerful plugin has to offer, it does an amazing job of emulating the sound of Neve EQs. British-E features more versatile filter shapes than the original design with three fully variable bands: a high-shelf, a midrange bell, and a low shelf.

It also includes a fully variable high-pass filter. The most unique thing about this plugin is that it does not include markings for frequency or gain controls, forcing you to rely on your ears. For these examples, I attempted to match the settings as best as I could by ear. Aside from the addition of stereo and mid-side processing, the EQ also stays true to the original feature set.

It includes six different equalizers, two compressors, seven preamplifiers and advanced routing emulations. The GOLD2 package includes individual plugins for the preamp, EQ and compressor modules, as well as a channel strip version. Both level and source are chosen based on which side of the knob you are on. There is an Off position between the two ranges, and another Off position between 50 and 80 dB on the mic side.

To modern eyes this can be a tad confusing. This will only happen with a mouse click to a different range, not with a mouse drag, but be careful anyway. The has two possible impedance settings: Hi Ohms and Lo Ohms. In default mode the unit is set to Hi.

On vintage units you had to crawl under and inside the desk to switch impedance; modern units have a rear-panel switch. The original included a white phase switch and a matching EQL button which engages the EQ section. Some modern units like the N also offer a 20 dB pad, which the new plug-in offers as well.

The original Wessex EQ, as some call it, is a 3-band semiparametric EQ with an additional 5-position hi-pass circuit. Next is the Midrange band, which uses a dual concentric pot. The stepped outer ring selects between frequency choices of Hz, Hz, 1. The Q is self-adjusting and gets narrower the more it is pushed. Finally we have the High Pass; its large blue knob is similar to the red preamp control and offers five selectable settings of 50 Hz, 80 Hz, Hz, Hz, and Off.

Nowadays AMS Neve offers a for every application. There are drop-in modules that can sit side by side with their vintage brethren in a console, or be racked in a multichannel frame or in 1-or 2-slot enclosures. In every instance the basic controls are unchanged. There are also switches for external level control, 5k1 termination, and a blue multi-socket output as would be used when seating a module in a rack or desk.

Every button, knob and switch functions and reacts just like its hardware counterpart. The new plug-in is mounted vertically, whereas the Legacy version was horizontal, and the new version is nice and large compared to the much smaller Legacy UI. The plug-in is mounted in a virtual wooden enclosure with the module on the left. This fader allows you more accurate control when driving the input hot for saturation and distortion purposes.

The Legacy model was created with a linear approach that is accurate, but does not offer the non-linearities of the circuit design. These nonlinearities give the new model a more analog sound, especially when pushed into saturation and distortion. It has a beautiful top end sheen, but with a nice subtle edge, a punchy low mid, and tight solid bottom end.

As I did with my comparison, I used a pair of Lauten Atlantis microphones to track an entire song with drums, bass, electric guitar, acoustic guitar, double-tracked lead and backing vocals, tambourine, and shaker. One mic went into the Apollo Twin with the plug-in enabled; the other went into the N hardware, then into the Apollo Twin at line level.

The challenging part of reviewing this plug-in alongside the hardware is that unlike a typical plug-in comparison, here you have multiple variations on a theme. Do you compare just mic pre to mic pre? Of course the correct answer to all three is Yes! I tracked many sources twice, both with and without matched EQ at various impedance settings, and I also used just the EQ section on a mix.

Highlighting or discounting the analog-air factor becomes a bit tougher. So how do the two compare? There was also a slight difference in low-mid weight, with the plug-in being a hair more forward-feeling and the hardware just a tad fuller, yet more laid back. All in all, this is some of the closest modeling I have heard from UA to date, maybe even better than the Massive Passive Plug-in reviewed February which is a personal favorite.

What impressed me most on the mic pre side was how similarly the two units react to input sources, both functionally and sonically. The new Neve plug-in really shows off how successful the Unison impedance matching is in a big, big way, especially on dynamic and ribbon mics. The one difference that surprised me here was that with a Shure SM7 on vocals, I did notice that the Apollo Twin actually exhibited a bit more headroom before driving the input compared to the hardware.