Frustrated with a lack of performance from available DIs, Mr. Rupert Neve set out to design a new direct interface that conveys the undiminished tone and vitality of the source instrument while balancing and isolating the original signal. The resulting RNDI delivers on that promise with a powerful and vibrant direct sound capable of reproducing the full harmonic depth of basses, guitars, acoustic instruments, and professional line level sources. With portable, powerful, larger-than-life tone for your instrument signals and amplifier signals, the RNDI is truly the first standalone DI worthy of the Rupert Neve name.

Over fifty years in the making, the Shelford Channel is the definitive evolution of the original technologies in Rupert s classic console modules like the 1073, 1064, 1081 and 2254, thoughtfully advanced and refined for the 21st century studio. The Shelford Channel is built around Rupert Neve s first new transformer-gain, class-A microphone preamplifier in over 40 years, the best-of-the-classics inductor EQ section from the Shelford 5052, a tone-packed Diode bridge compressor, the analog power of variable Silk saturation, a new dual-tap transformer output stage for maintaining headroom or allowing the full driving of the Channel without clipping standard converters, and twice the operating voltage of vintage designs.

Brand new stereo version! Frustrated with a lack of performance from available DIs, Mr. Rupert Neve set out to design a new direct interface that conveys the undiminished tone and vitality of the source instrument while balancing and isolating the original signal. The resulting RNDI delivers on that promise with a powerful and vibrant direct sound capable of reproducing the full harmonic depth of basses, guitars, acoustic instruments, and professional line level sources. With portable, powerful, larger-than-life tone for your instrument signals and amplifier signals, the RNDI is truly the first standalone DI worthy of the Rupert Neve name.

Punchy, thick and versatile, 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. Originally developed for the dynamics circuit of the acclaimed Shelford Channel, the 535 is outfitted with Rupert Neve Designs custom transformers and class-A output amplifiers, all tailor-made for the popular 500-series format. Almost 50 years after Mr. Rupert Neve created his first diode bridge compressor designs, the 535 reimagines the larger-than-life personality of these classic circuits with new levels of precision and adaptability, helping virtually any track shine through a mix.

Simple and elegant, the 5211 is the natural evolution of what is arguably the most famous gear in audio recording history: Rupert Neve s microphone preamps. With two channels of the classic tone you know and love, 72dB of gain, sweepable high-pass filters for precise control, and the power of Mr. Rupert Neve s dual-tap transformers with variable Silk saturation, the 5211 delivers a versatile, flattering, and uncompromising front end for any signal path. In short, it s everything a mic preamp should be. MIC GAIN: A 12-way precision rotary switch controls gain from 0 to 66 dB in 6 dB steps. TRIM: Continuously variable /-6 dB level control. SILK / TEXTURE: Pushing the Silk button engages the red Silk circuit, which reduces the negative feedback on the output transformer, adding harmonic content as the texture is increased. Red Silk accentuates the saturation in the mid and high frequencies, similar to that of the red silk mode on the Shelford Channel. By manipulating the Texture control, the amount of Silk can be changed from essentially absent, to roughly 10 times the amount of coloration / distortion found in Silk from the original Portico Series. With Silk / Texture engaged, the distortion characteristic and harmonic content of the unit are very reminiscent of many of Rupert s vintage class-A designs. LEVEL METER: An eight-segment LED bar-graph meter displays output level (pre-Silk). from -30 dBu to 22 dBu. POLARITY: Reverses the polarity of the input signal. HIGH PASS FILTER: Continuously variable from 20Hz to 250 Hz, and engaged with the HPF button. PHANTOM POWER: Provides 48V phantom power to microphones. -6dB OUTPUT: A secondary split off the output transformer with a lower headroom, designed to allow engineers to fully drive the output of the 5211 without clipping converters and other devices.

Whether you re tracking, printing mixes, or mastering, the Master Buss Converter is a revelation in quality and functionality of A-D conversion technology. The analog drive circuitry allows the MBC s converter to be fed by either a class-A transformerless path for maximum transparency, or by custom inter-stage audio transformers with variable Silk for a wide variety of tonal enhancements. Coupled with an astonishingly musical limiter, the MBC is always the best choice to capture your analog signals with breathtakingly three-dimensional accuracy. Mastering-Grade Conversion: The MBC s 24-bit/192kHz converters were developed after years of careful listening, and represent a further advancement of the design within the RMP-D8. The precision controlled internal clock s minimal jitter and phase noise allow the converters to capture the complete performance of your music with a great degree of accuracy simply put, the MBC creates an uncanny digital representation of your analog signals. Transformerless Path - Frequency Response (20 Hz to 70 kHz): /- 0.025 dB typical - THD N @1 kHz @ -2 dBFS (10 Hz - 22 kHz BW): 0.0009% typical - Noise (BW 10 Hz - 22 kHz): -108 dBFS typical Transformer Path - Transformer Frequency Response (20 Hz to 70 kHz): /- 0.1 dB typical - THD N @1 kHz @ -2 dBFS (10 Hz - 22 kHz BW): 0.002% typical - Noise (BW 10 Hz - 22 kHz): -114 dBFS typical Limiter Specifications (Transformerless Path Selected) - ZSOURCE= 40 Balanced - Frequency Response (20 Hz to 70 kHz): /- 0.1 dB typical - Noise @ 0 dB Make-Up Gain (10 Hz - 22 kHz BW): -107 dBFS typical - Noise @ 20 dB Make-Up Gain (10 Hz - 22 kHz BW): -97 dBFS typical

For the last decade, the world s leading live sound engineers have chosen Rupert Neve Designs as some of the only analog equipment to accompany their digital touring rigs. With mastering-grade 24-bit 192kHz converters and full Dante integration, the RMP-D8 finally offers the live sound world something that studios have always coveted: the sound of Rupert Neve Designs. The heart of the RMP-D8 lies in the modular mic preamp cards featuring Mr. Rupert Neve s custom transformer designs. Unlike other integrated Dante mic preamp designs that rely primarily on a single IC for gain and tone, each channel on the RMP-D8 has a fully-realized class-A microphone preamplifier feeding a custom transformer, maintaining the high standards of Rupert Neve Designs standalone preamplifiers. The RMP-D8 s audio signal will work with any Dante device across settings ranging from concert halls to arenas, clubs, studios, houses of worship, and educational facilities. All in all, the RMP-D8 brings the classic sound of Rupert Neve Designs into the Dante-connected world. Features 8 mic / line inputs with 48V phantom power, polarity reverse, input pad and high-pass filter controls 1dB-stepped class-A mic preamplifiers with 60dB gain and remote control capability Custom Rupert Neve Designs transformers for the larger-than-life tone of Rupert s classic modules 24-bit / 192kHz Mastering-Grade Converters with precision-controlled internal clocking and enhanced jitter reduction Ultra-reliable, redundant power supplies capable of operating anywhere in the world Dante integration with redundant network ports for reliability Gain-compensated secondary output 4 dual-channel AES outputs on XLR connectors Large OLED display with full local control,· accurate and easy-to-read meters Compatible with Dante Virtual Soundcard and Dante Via for direct computer integration Reinforced steel chassis for enhanced RF shielding and rugged touring use in challenging environments

Based on the Portico 5017 Mobile Pre, the 517 provides world-class transformer-coupled micpreamp, compressor and DI circuitry with Vari-phase, Silk and DI/mic blending capabilities all in a single 500 series module. Mic Pre and Instrument Amplifier The 517 s mic pre based on the TEC Award-winning Portico 5017 provides up to 66dB of gain, polarity-reverse and phantom power switches, and the Silk circuit for a more vintage vibe. The separate instrument amplifier includes 30dB of gain, a ground lift, variable phase and an instrument Thru connection. Blended Use Used as a single channel device for instruments, the 517 can be used to phase align, combine and compress direct and amplified signals. To achieve this, use the DI for the instrument s direct signal and the mic preamp for the speaker cabinet signal. The blend control is used for mixing direct and amplified signals to achieve the desired tonal blend between the two sources, and the variphase is used to minimize or extenuate phase cancellations between the two signals. To compress the blended signal, the internal compressor jumper must be set to the blend path (this is the default setting). This technique could also be used to create a single, mixed output of a guitar and vocals. The Compressor Based around a new LDR (light dependent resister) design, the 517 s opto-coupler compressor has been simplified to a single threshold control with auto make up gain. By default, the compressor is set to a fixed 2:1 ratio with fixed attack and release. To set the compressor, simply dial the threshold control down until the desired amount of compression is achieved. An LED light indicates when the compressor is active. Vari-Phase In addition to the standard polarity reverse, the 517 s vari-phase control may be used to adjust phase incrementally. This control is useful any time two signals derived from the same source are combined. For instance, even with careful placement, the combination of close miced drums and overheads, can often yield hollow-sounding results. By using the variable phase adjust, the direct signal can be phase rotated until the signals are naturally aligned. This technique is also extremely useful when combined with the internal blend control on instruments. A bassist or guitarist using both direct and mic d signals can blend the two into a single output, using the variable phase to reach an optimal alignment. By adjusting the phase in the 517, the musician or engineer can find the absolute best mic position without regard to the phase relation to the direct signal. SPECIFICATIONS - 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 Ohms. 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 1.5dB - 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 - Crosstalk: Measured channel to channel: Better than 90 dB @ 15 kHz. - Phantom Power: 48 Volts DC ±1%

Whether you re tracking, mixing, or just listening to music, your headphone amplifier is as important to the final sound quality as your headphones yet the world is full of headphone amps with compromised sonics, headroom, and power. To address these shortcomings, Rupert and his team at Rupert Neve Designs have developed the RNHP. Based on the headphone output circuit in the 5060 Centerpiece Desktop Mixer, the RNHP is a dedicated 24V reference-quality headphone amplifier with specifically-calibrated 4dBu balanced line, unbalanced RCA and 3.5mm (1/8 ) inputs, housed in a rugged VESA-mountable steel chassis. With effortless, wide-open sonic performance and the ability to drive any pair of headphones without compromise, the RNHP allows you to perform, mix and enjoy your music with a new level of clarity. Features Precision Sound Wide-open, extremely detailed sound quality allows you to get the most out of your headphones Dedicated Power High-power, high-headroom design can effortlessly drive high-impedance (up to 600 Ohm) headphones even during the loudest, most dynamic tracking sessions Reliable Translation The near-zero output impedance (.01 Ohm at 1kHz), direct-coupled amplifier design provides for excellent translation with any pair of headphones Precision Stereo Potentiometer The highly damped stereo potentiometer is designed to give you precise level control and maintain perfect left-right balance Professional Line Input The calibrated 4dBu line input is selected with the A switch. The combo jack accepts either XLR or TRS inputs for balanced professional devices. RCA Input The unbalanced RCA input is calibrated for -10dBV signals and is selected with the B switch. The RCA jack is commonly used with home stereo devices or Prosumer equipment 3.5mm Input Stereo 3.5mm input specifically calibrated to work with mobile devices like phones, computers and digital cameras VESA Mount The VESA 100 compatible mount enables you to mount the RNHP wherever it needs to be. Common mounts are pole-mount arm for mic stands, pivoting multi-arm desk mount, and wall / surface mount for securing upside-down under a table, music stand or other studio furniture Steel Clamshell Chassis The RNHP s rugged, solid-steel chassis is built to a high industrial standard with an overhang to protect the connectors and main level control from glancing blows, as well as shock-absorbing rubberized feet 24V DC Input The RNHP can be powered using either the included 6 watt power supply or a 24V, 0.25A min battery (not sold by RND) Specifications Maximum Input Levels - A XLR I/P: 22.8 dBu @1kHz - B RCA I/P: 14.7dBu @1kHz, - C 3.5mm I/P: 3.3dBu @1kHz Output Power - As measured with typical headphones, Z=44 : 3.617 VAC RMS @1kHz = 300mW RMS - 16 typical Load: 1.933 VAC RMS @1kHz = 230mW RMS - 150 typical Load: 5.108 VAC RMS @1kHz = 175mW RMS Output Impedance - .08 @ 1KHz, 16-150 load, 0dBu input Frequency Response /- .2dB from 10Hz to 120KHz Noise - Measured with typical headphones, Z=44 , BW 22Hz 22kHz - A XLR Input: -101.9dBV, - B RCA Input: -100.9dBV - C 3.5mm Input: -88.8dBV Dimensions - (WxDxT): 165 x 116.84 x 48.26 mm (6.5 x 4.6 x 1.9 ) Power Supply Requirements 24VDC @ 0.25Amp (6 watt) minimum. Use with supplied power adapter, as this has been carefully selected for best output power and noise performance. May be used with a properly configured 24V battery as well.

Le Newton Channel est une tranche de console 1U moderne et puissante née d'une lignée sonore légendaire. Sa conception intuitive offre un son classique, avec tout le caractère reconnaissable de Rupert Neve Designs. Le Newton est adapté pour un project studio, un studio commerciale ou une sonorisation live Le nom tire son origine du lieu de naissance de Rupert - Newton Abbot, en Angleterre - CARACTÉRISTIQUES : - Sonorité traditionnelle des préamplis Rupert Neve :Obtenez le son percutant, plus grand que nature, entendu sur d'innombrables productions musicales.- Transfo spécifiques et amplificateurs de ligne de classe A :Le caractère vintage bénéficie d'un gain de dynamique accru avec les étages de transfo de Rupert Neve Designs.-Égaliseur 3 bandes complet :Section d'égalisation flexible et intuitive avec un réglage intégral des bandes médium spécialement conçue pour le Newton.-Compresseur VCA rapide et progressif :Domptez délicatement les transitoires ou appliquez une compression puissante mais en douceur grâce à la dernière évolution de notre circuit de compression VCA. Le Newton comprend également un commutateur d'égalisation pré/post pour une flexibilité encore plus grande.-Saturation Silk Red and BlueAjoutez une richesse subtile ou une saturation harmonique de style vintage à l'aide d'un simple réglage.-Potard crantés 31 positionsRetrouvez et ajustez vos réglages avec rapidité et précision.-Link de liaison stéréoAssociez la réduction de gain de deux compresseurs Newton pour un traitement puissant du bus stéréo.

Basé sur le circuit de la célèbre Portico 5045, le 545 est exceptionnelle pour réduire le larsen sans avoir d'impact négatif sur l'intégrité sonore de la source.Le 545 partage certains traits desNoise Gateconventionnelles, mais fonctionne sur un principe différent. Un aspect commun est que les deux réduisent le gain en l'absence de signal - ou plus précisément, les deux commencent à atténuer lorsque le niveau d'un signal tombe en dessous d'un certain seuil défini par l'utilisateur. Le 545 détecte quand quelqu'un parle ou chante et laisse passer le signal. Il détecte quand la personne a cessé de parler ou de chanter et réduit le gain de manière appropriée, réduisant ainsi la tendance du système au larsen.Il est important de noter que le 545 n'a pas recours au filtrage ou au traitement numérique pour obtenir ses avantages significatifs. Construit autour des transformateurs d'entrée et de sortie personnalisés de Rupert Neve Designs, son circuit entièrement analogique offre un contrôle et des performances sonores superbes sans compromettre l'intégrité du matériel source. Cela fait du 545 la méthode la plus intuitive, la plus naturelle et la plus efficace de réduction de l'effet Larsen disponible sur le marché.

Since the early 1970s, Rupert Neve s early diode bridge compressors have been revered for the punch and glue they bring to drums, instruments, and the mix buss but these desirable characteristics were unfortunately accompanied by inflexible controls and fairly limited versatility. Rupert Neve Designs created the 5254 Dual Diode Bridge Compressor to capture the soul of these coveted compressors while providing modern updates including advanced timing control, significantly lower noise, fully stepped controls throughout, higher voltage power rails, and internal parallel processing capabilities. SPECIFICATIONS: XLR Line Input to XLR Line Output (Compressor Bypassed) ZSOURCE= 40 Balanced Input Impedance: 10 k Output Impedance: 40 Maximum Input Level ( 4dBu Selected): 26.7 dBu typical Maximum Output Level: 26.7 dBu typical Noise (22 Hz - 22 kHz BW): -104 dBu typical Frequency Response (10 Hz to 120 kHz): /- 0.25 dB typical THD N @1 kHz @ Maximum Level (22 Hz - 22 kHz BW): 0.0008% typical Compressor Noise Specifications Noise @ 0dB Make-Up Gain (22 Hz - 22 kHz BW): -84.5 dBu typical Noise @ 20dB Make-Up Gain (22 Hz - 22 kHz BW): -64.5 dBu typical Compressor Timing Specifications Note: TIMING measurements represent the full range achievable between 1.5:1 and 8:1 ratio and FAST mode FAST Attack 250 S - 2 mS // Release 100mS - 200mS typical MF (MEDIUM FAST) Attack 1mS - 5mS // Release 100mS - 200mS typical MED (MEDIUM) Attack 3mS - 18mS // Release 350mS - 700mS typical MS (MEDIUM SLOW) Attack 5mS - 40mS // Release 600mS - 1S typical SLOW Attack 10mS - 80 mS // Release 800mS - 1.5S typical AUTO Attack 5mS - 40mS // Release T1 400-900mS, T2 1-2S typical WEIGHTS and DIMENSIONS Product Dimensions (W x D x H): 19 (48.3 cm) x 8.25 (20.9 cm) x 1.65 (4.2 cm) Shipping Weight: 10 lbs. (4.5 kg)

The 551 Inductor EQ 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 for the very first time. The Best-Of EQ The 3-band, custom-tapped inductor EQ on the 551 was inspired by RND s favorite portions of Rupert s vintage EQ designs. The low frequency band is designed to produce a creamy, resonant bass response however, unlike the vintage modules that inspired it, 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 551 s inductor midrange band is 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 Rupert originally intended with his 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 35 years ago, and should not be considered a clone . Both the high and low band can be switched from shelf to peak curves and offer 15 dB of boost or cut. The high band can be switched from 8 kHz to 16 kHz, and the low band can be selected at 35 Hz, 60 Hz, 100 Hz or 220 Hz. The inductor based Mid Band offers 6 center frequencies; 200 Hz, 350 Hz, 700 Hz, 1.5 kHz, 3 kHz and 6 kHz. The Mid Band also has a Mid Hi Q switch to narrow the bandwidth (increase the Q) of the filter. Why Inductors So, what are inductors They re 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. While it is possible to create a functioning EQ using off-the-shelf inductors, the attention to detail in controlling variables such as the winding and core materials in relation to the surrounding circuitry allows the 551 EQ to capture the vitality of Rupert s older designs. While capacitor-based designs like the 5033 are often preferable for surgically sculpting tracks, the inductor EQ found in the 551 is capable of adding punch, vibrance, and personality to the source material that goes far beyond general frequency modification. Designing for the 500 Series Rupert Neve: While creating functional 500-Series modules is relatively simple, designing those modules to equal their non-500 series counterparts with the current, voltage and space restraints is quite challenging. In creating our own 500-Series modules, we experimented with a number of different transformer and circuit designs to achieve the same presence and sweetness found in the Portico Series of modules. The result of these efforts is that outside of the slightly lowered headroom, our 500-Series modules are nearly indistinguishable from standard Portico Series modules, and are perfectly suited for studios of the highest-caliber. With single-sided circuitry and transformer-balanced inputs and outputs, the 551 is capable of enhancing the sonic quality of many signal sources, especially those of digital origin. The sonic signature is one of extreme purity, and the image is consistent with that of Rupert Neve s original designs of 35-40 years ago. This is an EQ with a truly vintage soul. Power and audio connectivity is supplied through any 500-Series compatible rack.