6284 products
AMS Neve 8801 Channel Strip
Regular price $3,495.00 Save $-3,495.00The AMS Neve 8801 Channel Strip gives you complete channel from the legendary Neve 88R console-considered industry-wide as one of the best sounding analog consoles ever made
Ever since the early days of home recording and project studios, one of the secrets of competing with the big studios was to have at least one “gold channel” (though it's always better to have two). For those who layered one track at a time, it made perfect sense and still does. You can get away with lesser preamps on background instruments, but if your music features vocals, you'll need a signal path on a par with the very best studios out there-and that's what the AMS Neve 8801 channel strip gives you. Taken from the AMS Neve 88R, just like the one sitting in Alan Sides' Ocean Way Studio and the preferred console of recording legend Al Schmitt, The Neve 8801 Channel strip features a transformer-coupled microphone preamplifier identical to that used on the 88R console, along with dynamics processing, EQ, and Insert, all user-configurable in position within the channel path. The preamp, according to Al Schmitt* compared to his rack of vintage Neve preamps sounds “as good if not better and quieter.”
AMS Neve 8801 Channel Strip-Just the Facts:
- Complete channel strip from the revered 88RS console in a single rackspace
- Hand-built and hand-wired by Neve in Burnley, England
- Genuine Neve mic preamp with High and Low Pass Filters
- 4-band equalization with highly musical, full-range sound
- 88RS-style compressor and gate
- Insert send and return
- EQ or filters to sidechain
- USB port for direct connection to Mac or PC
- Optional Neve analog-to-digital converter
*PAD For The Record-A recording engineer's engineer, it's easier to list who 21-time Grammy winner Al Schmitt hasn't worked with. His resume is a who's who of popular music spanning decades, including Elvis Presley, Paul McCartney Chick Corea, Toto, Brian Wilson, Celine Dion, Barbara Streisand, Ray Charles, Michael Jackson, Aretha Franklin, Earth, Wind & Fire, Al Jarreau, Van Morrison, Natalie Cole, Miles Davis, George Benson, Diana Krall, Norah Jones, Dionne Warwick, Willie Nelson, Rod Stewart, Michael Bolton, Steely Dan, Luther Vandross, Dean Martin, Gladys Knight, James Taylor, Elvis Costello, Frank Sinatra, Aerosmith, and the list goes on. So, you could say that Al knows his way around a console. When the best artists want the best engineer, they choose Al Schmitt, and Al chooses Neve.
AMS Neve 8801 Channel Strip-Under the Hood
Contained in a single rackmount unit, the 8801 combines a classic Neve mic preamplifier and equalization circuitry with an incredible 88R-style dynamics processor. The 8801's transformer-coupled preamp is identical to that used on the 88R console. With 0dB to 70dB of clean gain, it can handle microphones of any sensitivity, such and ribbon mics or vintage dynamics. For the flexibility necessary to accommodate professional standards and workflow, the 8801 has an audio router function that provides a user-configurable signal path allowing any order of dynamics, EQ, and Insert in the channel path.
Along with Neve's finest quality preamp, the channel comprises high- and low-pass filters, four bands of highly musical equalization, a compressor, gate, dynamics sidechain, and an insert point. The EQ and or filters can also be placed in the dynamics sidechain for greater flexibility, enabling you to use the compressor as a de-esser, pass low frequencies with clamping down on the signal, or tame cymbals ahead of compression, etc.
For easy recall, just as you would expect on a console, the configuration of the 8801 can be stored and recalled via the Neve Recall software on a PC or Mac. Plus, up to sixteen 88 series units may be connected to a Recall system simultaneously and in any combination.
ADC digital option card
To complete your ultimate DAW front end, an optional Neve-designed analog-to-digital converter can be installed in the 8801. It supports all standard PCM sample rates up to 192kHz, as well as direct-to-DSD conversion. In listening tests, many engineers and producers preferred the sound of these Neve-designed converters to standalone converters costing more than the entire 8801 unit.
Neve Recall software
Neve's proprietary Recall software (Mac/PC-compatible) allows seamless integration with workstations, providing instantaneous recall of all external device settings. An essential tool for creativity, Recall combines the flexibility of a computer-based system with the power and sound quality of genuine Neve design. Quite simply, the 8801 is the most convenient way to give any serious studio the ultimate Neve analog sound.
If you're looking for your first golden channel or working toward a 16-channel Neve system with Recall, the AMS Neve 8801 Channel Strip is the place to start. For more information, call or chat online with your PAD Studio Specialist today.
Specifications
General Performance
- Mic input impedance: 1.2k ohm
- Mic input headroom: +26dBu (reference 0dBu)
- Mic input gain range: 0dB to 70dB (using pad)
- Line input impedance (balanced): > 20 ohm
- Line input headroom: +26dBu (reference 0dBu)
- Line input gain range: -24dB to 24dB
- DI input impedance (balanced): >750k ohm
- DI input headroom: +20dBu (reference 0dBu)
- DI input gain range: -44dB to +24dB (using pad)
- Line output impedance: <50 ohm
- Main output (Maximum) >+26dBu into 600 ohm
- Frequency Response: +/- 0.2 dB 10Hz to 20kHz; +/- 0.5dB 10Hz to 40kHz
- THD + N*: <0.005% (Line output to main output, 20Hz to 20kHz, using a measurement window of 10Hz to 80kHz
- Line output to main output: <-89dBu; All audio blocks in circuit: <-80dBu
Physical
- Width: 19" / 48.2 cm
- Height: 1-3⁄4" / 4.4 cm (1U)
- Depth: 9-1⁄2" / 24 cm (without power socket plugged in)
- Weight: 6.6 lb. / 3 kg
*All noise measurements made between 20Hz - 20kHz using measurement window of 10Hz - 22kHz
AMS Neve 8803 Dual Equalizer
Regular price $2,495.00 Save $-2,495.00gives you two channels of EQ taken from the flagship 88RS console and features DAW integration with software recall of settings on PC/Mac
Let's say you're all pre-amped up, but are in need of an equalizer that's equal to the task of matching your Neve 1081R or 4081 preamps. The AMS Neve 8803 Dual Equalizer delivers the distinctive sound of the flagship Neve 88RS console. Handmade and hand-wired as you've come to expect from Neve, it has two identical channels that are fully independent. Each channel features high- and low-pass filters and four bands of EQ. And, as you'd expect from the 88RS console, the 8803 Dual Equalizer's settings can be stored and recalled via USB using the Recall software. Plus, up to sixteen 88-series units may be connected to a Recall system simultaneously in any combination.
AMS Neve 8803 Dual Equalizer-Just the Facts:
- Revered equalization circuitry derived from classic 8108 design and flagship 88RS analog console
- Hand-built and hand-wired by Neve in Burnley, England
- ±20dB Input trim
- High-pass filter 30Hz-300Hz, 12dB per octave
- Low-pass filter 3kHz-15kHz, 12dB per octave
- EQ High 1.5k-18kHz, selectable Shelving/Bell, selectable Hi Q
- EQ Mid-high 0.8kHz-9kHz, Q range: 0.3 to 7 continuously variable
- EQ Mid-low 120Hz-2kHz, Q range: 0.3 to 7 continuously variable
- EQ Low 33Hz-440Hz, selectable Shelving/Bell, selectable Hi Q
- EQ bypass switch
- USB port for recall of settings via Mac or PC and control software
- XLR input combination jack, +4dBu, -10dBV
- XLR and parallel jack outputs
- External 100V-250V power supply
AMS Neve 8803 Dual Equalizer-Under the Hood
The input section of the 8803 has an input trim control that lets you set the level of the input signal from -20dB to +20dB and can encompass signals from sources referenced to +4dBu or to -10dBV. There's also a front-panel signal-present LED (trigger level is -30dBu) and a clip LED that will light red to indicate that the signal is greater than 25dBu and there is danger of clipping occurring.
The signal level is monitored at three stages: input pre-trim; input post-trim; and Output. The LED is triggered by any one of these levels reaching greater than 25dBu.
The 8803's balanced inputs and ±20dB trim are followed by two 12dB-per-octave filters. The high-pass filter has a variable corner frequency from 30Hz to 300Hz, and the Low-Pass Filter has a range of 3kHz-15kHz. The four bands of equalization offer selectable shelving and switchable “Q” on the high and low bands, with continuously variable “Q” on the mid frequency bands. Frequency selection is variable on all bands within the ranges 33Hz-440Hz, 120Hz-2kHz, 0.8kHz-9kHz and 1.5kHz-18kHz.
Neve proprietary Recall software
For easy recall, just as you would expect on an 88RS console, the settings of the 8803 can be stored and recalled via the Neve Recall software on a PC or Mac. Neve's proprietary Recall software (Mac/PC-compatible) allows seamless integration with workstations, providing instantaneous recall of all external device settings. An essential tool for creativity, Recall combines the flexibility of a computer-based system with the power and sound quality of genuine Neve design. Plus, up to sixteen 8- series units may be connected to a Recall system simultaneously and in any combination.
For modern producers and engineers looking to shape and develop sounds with unrivaled sonic purity and musicality, the 8803 Dual Channel Equalizer is the preeminent choice. For more information, call or chat online with your PAD Studio Specialist today.
Specifications
Audio
- Max Output Level: +26dBu
- Frequency Response: +/- 0.3dB 10Hz - 20kHz +/- 0.5dB 10Hz - 35kHz
- Distortion: <0.006 (10Hz to 20kHz using window of 10Hz - 80kHz)
- Noise: <80dB 20hz - 20kHz (using measurement window of 10Hz - 22kHz)
- Input impedance: >20k ohm
- Output impedance: 50 ohm
Physical
- Width: 19" / 48.2 cm
- Height: 1-3/4" / 4.4 cm
- Depth: 9-1/2" / 24 cm
- Weight 5.5 lb. 2.5 kg
AMS Neve 8804 Fader Pack
Regular price $1,780.00 Save $-1,780.00The AMS Neve 8804 Fader Pack offers precision fader control for the 8816 Summing Mixer, featuring 16 channel faders with mute/solo switches, two master faders, direct outputs, aux send, and instant recall via Mac/PC
Perhaps the most requested feature for summing mixers of all makes is the addition of faders. While it can be argued that you can do your fader automation in the DAW and simply use the summing mixer for analog flavor and stem recording, engineer and mixers quickly realized that changing levels on DAW faders (particularly lowering them) changed the sound of the instrument or vocal. However, using analog faders to reduce or increase level didn't change the timbral integrity of a sound, just its volume. Another benefit of analog faders is that you can ride them while tracking vocals,* thus controlling levels going into your converters without reducing the word-length “describing” the sound. Of course, while the 8804 Fader Pack does all this and more, the faders aren't automated beyond snapshot recall. On the plus side, performing a mix on faders like an instrument is far more musical that drawing automation lines with a mouse. The mix engineer becomes a part of the performance, which in turn can lead to magical moments that can't be had with a DAW pencil tool.
AMS Neve 8804 Fader Pack-Just the Facts:
- High-quality long-throw fader module for use with popular 8816 Summing Mixer
- Hand-made by Neve in Burnley, England
- 16 channel faders and 2 master faders
- 16 mute/solo switches
- 16 direct outputs allow 8816 level pots to become auxiliary sends
- Instant recall of settings stored on PC or Mac via USB
- 4U rackmount or tabletop operation using built-in stand or optional Neve 8804 sidecheeks
AMS Neve 8804 Fader Pack-Beneath the Surface
The Neve 8804 not only adds fader control to the 8816, but it also provides expanded functionality. Each 8804 channel fader has a direct output, which can be set to pre- or post-fader. These direct outputs can then be used to feed effects units, make separate recordings of individual tracks in a mix*, or for multi-track recording from the 8816. The channel level pot on the 8816 becomes a dedicated auxiliary send for an outboard reverb unit, letting you add that extra touch of magic to the mix.
The 8804 is equipped with AMS Neve's proprietary Recall utility program for use with a computer-based system. Recall enables your Mac or PC to store and recall all of the 8804's settings, facilitating workflow and increasing productivity. Put simply, this is the Neve console experience brought to the DAW-based studio.
*PAD For the Record-One of the closely guarded secrets of getting vocal tracks that sound like money is to ride faders during tracking. It's a bit scary at first, since nobody wants to risk spoiling a great performance, but nothing sounds as good as fader rides. Since, as they say, the essence of engineering is laziness, it's very tempting simply insert a compressor and let it do the level control. Some will put two compressors in series so that neither has to work too hard, thus avoiding artifacts, but truth be told, no compressor, no matter how fast its attack time, can anticipate when a singer is going to belt. Compressors only react, they can't anticipate. If you're nervous about upping your game with fader rides, send the signal to two channels, one for fader rides, the other with a compressor inserted for safety. And once you get the hang of it, you'll never want to track vocals any other way.
The 8804 surface controls
Channel faders
The 8804 has sixteen 100mm, long-throw channel faders that control the levels on channels 1 through 16. The faders have a gain range from -∞dB to +15dB. Having 15dB gain in hand is a useful creative tool, particularly when riding levels in the mix. Care should be taken not to overload the workstation or other recording device by using too much boost across multiple channels simultaneously.
Aux send level control
With the 8804 fader pack attached, the rotary pots of the 8816 summing mixer are taken out of the main circuit and re-tasked as an auxiliary send level control. These auxes will always be pre-fader and cannot be changed to post-fader. The 8816 Master Level pot is no longer used.
Master faders
Two master faders control the Mix Left and Mix Right output levels with a gain range from -∞dB to 0dB. With both faders at the top of their range, the mix gain is unity.
Cut/solo channel switches
Cut/Solo buttons above each channel activate the Mute relays in the 8816 via the USB connection. The switches on the 8816 or on the 8804 may both be used, each will illuminate to reflect changes made from the other. In Cut mode, each button mutes the associated channel. In Solo mode, each button solos the associated channel. The solo type is Solo In Place, where all non-soloed channels are muted.
Cut/Solo master switch
The Cut/Solo switch on the upper right of the 8804 sets the mode of the Cut/ Solo channel switches. When the Master switch is illuminated yellow, the channel buttons are in Solo mode. When the switch is unlit, all channel switches are in Mute mode.
Direct outputs
The 8804 provides balanced Direct Outputs from each of the 16 channels. These can be used for recording or as sends to effects units and processors. The Direct Outputs can be set Pre- or Post- fader within the Recall software.
If a channel Direct Output is set to post-fader, you can select whether it will be muted by the Cut/Solo switch. The Direct Output balanced circuits will be on either on a 50 pin D-type connector or on two 25-way D-type connectors on the rear of the 8804.
Auxiliary send
With the levels controlled from the 8804 faders, the rotary level control on the 8816 is available to use as an auxiliary pre-fade send level control. (The output appears on Circuit 4 of Connector 3 on the 8816.)
Recall software
Settings on the 8804 may be stored and recalled using the same Recall software as the 8816 and other members of the Neve 88 Outboard series.
Master/Slave settings
It's possible to have a maximum of two 8816 units and two optional 8804 fader packs connected via USB to the Recall software. If you only have one 8816 and one 8804 fader pack connected, both units must be set to Slave so the Recall software will operate correctly.
Optional sidecheeks
While you can use the its built-in wire stand, the 8804 can dress to impress with a pair of optional side panels or sidecheeks (which are kind of sweet), bearing the distinctive red on Neve lightning bolt logo on a raised white circle.
If you're looking for the full-on, old-school Neve mixing experience, add an 8804 Fader Pack to your 8816 Summing Mixer and go make some magic. For more information, call or chat online with your PAD Studio Specialist today.
Specifications
Level
- Channels 1-16 -∞ to +15dB
- Mix L / R -∞ to +0dB
Frequency Response
- +/- 0.2dB: 10Hz to 20kHz
- +/- 0.5dB: 10Hz to 40kHz
Distortion
- Measurement Window: 10Hz to 80kHz
- Fader @ 0dB: Distortion <0.005% (20Hz to 20kHz)
Noise
- Measurement Window: 10Hz to 22kHz
- Fader @ 0dB: Noise <90dB (20Hz to 20kHz)
Physical
- Height 6-15/16" (17.6 cm) / 4U
- Width 19" (48.2 cm)
- Depth 1-1/2" (3.2 cm)
- Weight: 4.6 lb. (2.1 kg)
![AMS Neve 8804 Sidecheeks (pair)](http://opticecho.myshopify.com/cdn/shop/files/8804_sidecheeks_{width}x.jpg?v=1717759286)
AMS Neve 8804 Sidecheeks (pair)
Regular price $170.00 Save $-170.00The AMS Neve 8804 Sidecheeks are stylish side-panels with the Neve logo for the 8804 Fader Pack
While you can use its built-in wire stand, the 8804 Fader Pack can dress to impress with a pair of optional finishing side panels (as they are known to the unenlightened). Bearing the distinctive red Neve lightning bolt logo on a raised white circle, the 8804 Sidecheeks (which are kind of sweet) give your Fader Pack a distinctive and impressive look that speaks volumes to your clients.
AMS Neve 8804 Sidecheeks-Just the Facts:
- Two end panels for the 8804 Fader Pack
- Red Neve lightning bolt logo on a raised white circle
- Royal Air Force blue finish
- Impressive look for desktop use
In the studio world, it's just as important to look good as it is to sound good. Don't let your 8804 Fader Pack go naked. Slap on a pair of sweet Sidecheeks and mix in style. Order yours today.
AMS Neve 8816 Summing Mixer
Regular price $3,495.00 Save $-3,495.00The AMS Neve 8816 is a 16-channel summing mixer featuring the sound of classic Neve consoles of the '70s, with +15dB gain, level, pan, cut/solo and cue controls per channel, monitor control, talkback, and the unique stereo widening control.
So, you didn't get that vintage Neve desk you wanted for your birthday, but that's no reason to hold your breath until you turn Royal Air Force Blue. The AMS Neve 8816 Summing Mixer is well within your reach and features classic Neve transformer-coupled sonics, plus a wealth of functions you'd find on a professional desk. The 8816 has 16 input channels, aux inputs, cue, level, pan, solo, mute controls, and mix insert points. But that's only a part of the story. It has a monitor section, talkback, headphone outputs, 2-track return, iPod input, and instant recall of settings from Mac and PC via USB. Of special note is the stereo widening control*, a feature of certain '70s consoles that enabled you to mix “outside the speakers.” The 8816 also has options for a fader pack and digital output card capable of PCM sample rates up to 24-bit/192kHz and DSD. Plus, you can cascade units and fader packs for a larger system with multiple outputs.
AMS Neve 8816 Summing Mixer-Just the Facts
- Hand-built, hand-wired 16-channel summing mixer for use in professional computer-based studios
- Classic Neve analog transformer mix bus topology
- Instant Recall of settings stored on PC or Mac via USB
- 16 input channels plus aux additional inputs
- Cue, Level, Pan, Solo, and Mute controls
- Mix Insert points
- Various solo and solo in place functions
- Sum and difference insert with exclusive “Stereo-Width Control”
- Separate Monitor and Cue levels
- Main and Alt speaker outs
- Onboard talkback mic w/talkback input to Cue
- Units can be cascaded for multiple outputs
- 2U rackmount design with special shielded power supply
- 2-track return, plus iPod input
- Headphone outputs on front and back
- Optional digital output card; 44.1kHz to 192kHz, plus DSD
*PAD Tech Note-A feature that all but disappeared from consoles is the width control. Summing a small portion of each channel into the other reduced the width of the stereo image, and was considered desirable by some, since the slightly smaller image would make the image less associated with the speakers, thus enhancing the illusion of acoustic reality. However, in modern times, the common wisdom is that greater isolation between the speakers is required in order to provide a good stereo image. This notion was disproved by the BBC in extensive testing before the days of stereo broadcasting. It was determined that a stereo separation of 20-25dB is all that's needed to provide the illusion of a full stereo width. Of course, once we all fell in love with hard-panned heavy guitars, the idea was to find a way to de-correlate a mix from the speakers by making it wider, and mixing “outside the speakers” became a highly elusive goal. It was discovered that cross-feeding anti-phase signals would increase the stereo image. In 1972, Mullard Research Laboratories published a famous circuit that provided continuous variation from mono to normal stereo to enhanced-width stereo. The caveat was not to sum more than 24% of the phase-inverted, stereo-flipped mix into the main mix or it would break the stereo image into two halves.
AMS Neve 8816 Summing Mixer-Under the Hood
Hand-built and hand-wired at the Neve factory in Burnley, England, the 8816 allows engineers and producers to mix their music on a true Neve summing mixer. A post-insert mix function can be used for mixing in a separate stem or blending the mix with a special effect.
With four monitor sources, two sets of speakers, independent monitor level control, talkback mic, cue send and headphone outs, the 8816 effectively turns a digital audio workstation to a professional mixing facility. An onboard USB connector allows snapshots of the 8816 to be saved to a PC or Mac and recalled ready for remix.
And of course, there's the classic, genre-defining Neve sound. The 8816 uses the same transformer mixing topology as the classic 80-Series consoles, with two custom Carnhill transformers on the stereo mix bus output, plus a unique Stereo Width** control as found in professional mastering studios. And what all this means is that the unit delivers the open, punchy mixes for which Neve consoles have long been renowned.
**PAD For the Record-Stereo widening is readily available in plug-in form these days. However, using these plug-ins on a final mix can introduce phase cancellation, so you'll need to reference your mix in mono. This effect can be easily created in a DAW without using a plug-in. Copy your 2-track master, use the stereo flip function so that left is right and right is left on your copied mix. Then reverse its phase. From there, blend the two mixes together adding small amounts of the copied anti-phase mix as you would a parallel compressed track. You'll hear the widening effect as you blend the two together. Also, be sure to check your mix in mono. The advantage of this procedure is that you're not dealing with the reconstruction filters of the plug-in adding word length to your final mix, which could cause overloads in the converters that the L/R meter can't see. At the end of the day, stereo widening is best left for mastering. However, there are certain effects within the mix that stereo widening can be very, well, effective on. For example, put a widening plug-in on the stereo returns of a reverb, such as the Lexicon 224XL, and it will make the reverb returns wrap around your head.
Digital ADC option card and 8804 Fader Pack
For those requiring digital output, the 8816's analog-to-digital conversion option supports standard sample rates to 192kHz and direct conversion to DSD (Direct Stream Digital). This Neve-designed ADC has been compared quite favorably to dedicated professional A/D conversion units costing as much or more than the entire 8816 mixer. If sixteen inputs aren't enough for your mix, multiple 8816 units can be cascaded together via a dedicated 2-track bus. And the unit can be paired with the 8804 Fader Pack, which provides 18 long-throw faders for hands-on control.
8816 Rear-Panel I/O and Controls
Line Output
- DB-25 Socket (standard Pro Tools and DA88TM connection) balanced at +4dBu for INS
- Main and LS Outputs and 1/4" stereo jacks at -10dBv for Main and Alt (Loudspeaker) outputs
Line Input
- DB 25 Socket (standard Pro Tools and DA88TM connection) balanced at +4dBu
- DC Power Input: 8 Pin DIN Socket
- Talkback Foot Switch: 1/4" mono jack
- USB: Type B male
Controls
- Earth Lift Switch: This will lift the main's earth connection from the chassis of the unit, allowing for the unit to be connected to a suitable technical earth system and thus avoiding hum from ground loops
- Slave Bus Switch: Allows two 8816 units to be joined together to create a slave and master system expanding the number of inputs. It also automatically sets the unit to be part of the Recall system as the slave or master
What the Pros are Saying about the AMS Neve 8816
In the words of Hugh Robjohns at Sound on Sound Magazine, “The critical issue is what [the 8816] sounds like. The answer is simple: It sounds fabulous and sublime. Its huge headroom and the classic transformer mixing topology endow the mix with an effortlessly silky quality that just screams ‘analog' at the listener.”
The AMS Neve 8816 is a surprisingly affordable means of upgrading your DAW to professional standards for tracking and mixing with console functionality and classic Neve sound. For more information, call or chat online with your PAD Studio Specialist today.
Specifications
I/O
- Input impedance: (balanced +4dBu) >20k ohm
- Output impedance: (balanced +4dBu) 50 ohm (unbalanced +4dBu) 100
- Headphone jack output impedance loading: More than 60 ohms
- Max input level (balanced): Better than +26dBu
- Max output level (balanced): Better than +26dBu into 600 ohms; better than +14dBu into 600 ohms unbalanced
Frequency Response
- 1 Line input to main output: 20Hz to 20kHz +/- 0.5dB; better than -3dB @ 60kHz
THD
- 1 Line input to main output: 50Hz to 20kHz, better than 0.02% (measured at +20dBu into 10kHz with 80k filter)
Noise
- No channels routed: Better than -86dBu (20Hz to 20kHz filter)
- 1 channel routed: Better than -85dBu
- 16 channels routed: Better than -80dBu
Power Requirements
- Rated voltage: 36V DC
- Rated current: 1.6A max
- Primary protection fuse:
- Operating Voltage: 36V
- Fuse rating and type: T3. 15A anti-surge 20mm x 5mm glass
Physical
- Height: 3-1/2" (88 mm)
- Width: 19" (483 mm)
- Depth: 15-3/8" (390 mm)
- Weight: 16 lb. (7 kg)
*All specifications with no processing in circuit
![AMS Neve 8816ADC Digital Output Option Card](http://opticecho.myshopify.com/cdn/shop/files/8816_ADC_Card_{width}x.jpg?v=1717759287)
AMS Neve 8816ADC Digital Output Option Card
Regular price $790.00 Save $-790.00The 8816ADC is a high-quality stereo analog-to-digital converter option card for the AMS Neve 8816 summing mixer that supports PCM sample rates up to 192kHz plus DSD, with sync inputs on AES3 and word clock
The standard M.O. for hybrid analog/digital studios is to output from a multi-channel converter into an analog summing mixer and record the 2-track master back into the DAW project through a separate high-quality, stereo A-to-D converter. Generally, such units run in the $2.5k-$3k price range and need to be integrated into your studio, which adds another level of complication. On the other hand, if you've chosen the AMS Neve 8816 summing mixer for your OTB mixing, for around one-third the price of a high-quality stereo A-D, you can fit it with the 8816ADC digital option card, which you can control from the front panel of the 8816 summing mixer. The 8816ADC uses the same converters as AMS Neve's flagship digital consoles, offering serious bang for the buck with sound quality rivaling the best standalone converters.
AMS Neve 8816ADC-Just the Facts:
- PCM sampling rates from 24-bit/44.1kHz to 24-bit/192kHz
- DSD (direct stream digital) sampling
- Two sync inputs; AES3 on XLR-F and word clock over BNC connector
- Single- and double-wire AES3 output
- Internal crystal reference if no external sync is present
- Sample frequency selected from the 8816 summing mixer front panel
AMS Neve 8816ADC-Under the Hood
Sampling Frequency
Sample frequency can be selected by pressing the button to the right of the sample frequency LEDs. This will toggle through the sampling frequencies one at a time.
8816ADC sync input
The 8816 has two sync inputs; one is a single AES3 female XLR), the other is word clock with a BNC connector. If no sync input is present, the 8816ADC will synchronize to its internal crystal clock. If one or the other sync inputs are present, the AES or WCK led will illuminate red showing that that sync input type is detected. When the correct sampling frequency is selected, either the WCK or AES led will light solid green to show that sync is being received and the unit has successfully locked to it. If both sync inputs are present and valid, the word clock input takes precedence over AES as the reference. Normally the sync input is set to the required sample rate. In this case both AES out 1/L and AES out 2/R carry the same stereo AES signal converted from the unit's left and right analog outputs.
Single-wire AES3
If the selected sample rate on the front of the unit is the same as the sync being input into the rear of the unit (48 kHz, either via word clock or AES sync), then the 2 XLR connectors on the rear of the ADC card will output Left and Right on both XLRs, so in effect a stereo mix on 1/L and the same stereo mix on 2/R.
Double-wire AES3
It is also possible to select 96kHz (or 88.1kHz) sampling rate with a 48kHz (or 44.1kHz) sync input. Similarly, it is possible to select 192kHz (or 176.2 kHz) sampling rate with a 96kHz (or 88.1kHz) sync input. This will cause the unit to output double rate AES on the two AES Output connectors. The sync LED will illuminate green indicating the sync reference is still being used for the digital output even though the ADC is sampling at twice the sync input sampling rate.
In this situation, AES out 1/L carries the odd and even samples of the left audio double rate signal on its left and right digital channels respectively. Similarly, AES out 2/R carries the odd and even samples of the right audio double rate signal on its left and right AES channels.
DSD
Selecting DSD will default to 44.1kHz reference. If no sync is available it will use its own internal crystal reference. The interface requires a minimum of two BNC cables (DSD left and DSD right) to the DSD recording device. The DSD output is switchable between SDIF* 2 and SDIF 3 with a rear panel switch. SDIF 2 requires a 44.1kHz sync signal to be passed to the DAC and this should preferably come from the 8816 sync output via a third BNC cable. SDIF 3 transmits the DSD signals with clock information included and should not need the sync signal.
*SDIF: Sound Description Interchange Format
When you consider that the 8816ADC gives you the same sound quality as AMS Neve's flagship digital consoles for under $1k, putting one in your 8816 summing mixer is a no-brainer. Order yours today. For more information, call or chat online with your PAD Studio Specialist today.
AMS Neve 88M - Dual Mic Preamp & USB Interface
Regular price $1,245.00 Save $-1,245.00Using the same transformer-balanced technology as Neve’s flagship large-format 88RS, the 88M brings the legendary sound of AIR, Abbey Road and Capitol Studios into your home and portable studio setup.
88RS Console Preamp
The 88M uses the same microphone preamplifier as the world-leading 88R console. The 88 Marinair transformer-coupled preamp, used on countless top ten singles and film scores, is a proven design that delivers analogue punch and clarity to all signal sources.
Transformer-Coupled Inputs
The 88M microphone, line and DI analogue inputs are fed through the Marinair transformer, ensuring that all microphone & instrument inputs benefit from the legendary Neve preamp sound.
10x10 Audio Interface
The 88M has plenty of audio inputs for more extensive recording sessions – two analogue inputs via the onboard preamps combined with eight digital inputs via ADAT optical connection allow for tracking up to ten signals. In addition, there are ten available outputs, two analogue monitor sends and eight digital outputs via ADAT optical connection, ideal for expanded monitoring, additional performer cue sends or connecting to different analogue units.
Studio Monitor Outputs
The 88M has two dedicated TRS outputs for your studio monitors, precisely controlled from the 88RS-style monitor pot with a centre detent set to -12dB below the maximum for the ideal studio listening level.
Professional Headphone Amplifier
The 88M headphone amplifier has plenty of headroom for professional headphones with independent level control and a front-mounted TRS connection.
Balanced Insert Loop
Both preamp channels feature a balanced insert send & return loop, ideal for connecting analogue outboard processing into your recording chain. Each insert send is always active, allowing for signal splitting, and providing an analogue output for each preamp before the A/D converter.
Built to Last
Like its progenitor – the two-ton 88RS console, the 88M is built to last. Housed in a high grade and robust shell, the 88M is the ideal interface to take out on the road.
Reference-Grade Conversion
The 88M uses premium AD/DA conversion chips to deliver ultimate fidelity for all outgoing and incoming audio signals. With the 88M in your home studio arsenal, you can trust your converters, knowing that the recorded sound is as pure as the sound in the studio.
Latency-Free Monitoring
Several built-in and simple to use monitoring options are available, providing latency-free monitoring for mono and stereo signal sources. Ideal for playback, tracking and overdubbing.
USB 3.0 Bus Powered
The 88M is designed for plug-and-play connectivity, taking power directly from the USB 3.0 connection. This class-compliant audio interface can be connected quickly to any laptop and be ready to record music in minutes.
General Specification
- 2x Analogue Preamp Inputs (Mic/Line/DI)
- 2x Balanced Analogue Monitor TRS Line Outputs
- 1x Balanced TRS Headphone Output
- 8x ADAT Digital Inputs & 8x ADAT Digital Outputs via TOSLINK Connection
- Insert send and return loop
- USB 3.0 B -Type port for direct connection to Mac or PC
- Class Compliant – Core Audio/ASIO
- Headroom: +18dBu @ 1kHz (<0.5% THD+N)
- Distortion (THD+N): Typically 0.008% @ 1kHz (measured at +18dBu, 10Hz to 80kHz filter)
- General Noise: <-85dBu (A-wtg)
- Frequency Response (Mic/Line/DI): +/- 0.1dB 20Hz – 20kHz (+/- 0.5dB 10Hz – 35kHz)
- Voltage: USB3
- Current <900mA
Preamp Specification
- Microphone input impedance (balanced): 1.5k Ohms
- Microphone dynamic range: >110dB
- Microphone input gain range: +21dB to 68dB
- Line input impedance (balanced): 20k Ohms
- Line input dynamic range: >111dB
- Line input gain range: -35 – +35dB
- DI input impedance (balanced): 900k Ohms
- DI input dynamic range >100dB
- DI input gain range: +13dB to +60dB
Monitor Output Specification
- Maximum output level : +18dBu
- Dynamic range: >113dB
Headphone Output Specification: (150 Ohm load)
- Maximum output level : +10dBu
- Frequency Response: 20-20kHz +/- 0.3dB
- Distortion (THD +N): <0.007% @10dBu 1kHz
- Noise floor: -96dBA
Dimensions
- Width: 182mm (7.2 inches)
- Height: 76mm (3 inches)
- Depth: 203mm (8 inches)
- Weight: 1.675Kg (3.7Lbs)
AMS Neve 88R 84/72- Preowned from 2005
Regular price $0.00 Save $0.00AMS Neve 88RLB 500-Series Mono Mic Preamp Module
Regular price $790.00 Save $-790.00The AMS Neve 88RLB is a mono mic preamp in the 500-series format that is taken directly from the flagship 88RS console and includes new features including REGenerate and intelligent phantom power switching-VPN Alliance compliant
Honey, I shrunk the 88RS! Just because you don't have the space for an 88RS console, floors that can handle two tons, or the high six figures it takes to own one, doesn't mean you can't have the sound of one-thanks to the AMS Neve 88RLB. Okay, not the sound of the entire desk, but the same preamp with precisely the same components and custom transformer as the aforementioned world-class console in a 500-series format. While the 88RS console preamp doesn't have the creamy thickness of the 1073 preamp, along with a precise soundstage, modern sound, and greater sense of realism, it does have an analog hue you'd expect from Neve. The 88RLB has an additional feature not found on the console preamps, which is called the REGenerate function, which feeds the line input and DI directly into the transformer for some additional Neve character. The 88RLB, along with a sweepable high-pass filter, phase reverse, and 20dB pad, has what Neve refers to as “intelligent phantom power,” which is a switching scheme that prevents phantom power from going where it isn't wanted.
AMS Neve 88RLB-Just the Facts:
- True Neve 88RS mic preamp in a 500-series format with transformer-coupled mic input, electronically balanced Line and DI inputs, and Line output
- REGenerate feature allows Line and DI inputs to be fed through the Mic input transformer to inject the legendary Neve sound
- Sweepable high pass filter can be switched in or out
- Intelligent 48v phantom power function
- -20dB pad and phase reversal features for Mic, Line, and DI inputs
- Signal Presence LED illuminates green from a level of -25dB and red from a level of +26dB
- Front combi-XLR connector for mic input (XLR), Line, and DI inputs (1/4" TRS jack
- LIFT switch eliminates potential ground loops when using unbalanced jack connectors in the front input
AMS Neve 88RLB-Beneath the Hood
The 88LRB is the product of years of refinement. Its custom transformer provides lower distortion, wider bandwidth, and greater rejection of external noise or hum than previous incarnations. The 88RLB also shares exactly the same components as those found in the 88RS for sonic excellence, and offers features not found in the flagship AMS Neve desk.
88RLB controls
Moving outside the box, the input section of the preamps has a rotary gain pot with push-in selection for Mic, Line, and DI, each with its LED indicator. When Mic is selected, gain range is from +20dB to 70dB; -20dB to +20dB line; and 0dB to 50dB out when DI is selected. Alongside the input LED indicators is the REG control, which is unique to the 88LRB. When active, it passes audio from the line or DI input through the mic amp's input transformer to inject Neve character and body. To make life easy, the 88LRB has a front-panel combi jack for easy mic/instrument access, which is selectable with a dedicated switch.
The 88LRB controls also include a selectable high-pass filter with a range of 31Hz to 315Hz, which can handle a wide range of unwanted sound from HVAC rumble up to 2nd-harmonic mains noise from guitar amps, as well as low-mid frequency room buildup, proximity effect, thinning out acoustic guitars or hi-hat, etc. The front panel also hosts a -20dB pad switch, 180-degree phase reverse, ground-lift toggle switch, and what AMS Neve refers to as “intelligent phantom power.”
So what is intelligent phantom power?
The phantom power not only engages +48V for condenser mics, it also holds the title of chess grand master and has read the entire works of Chaucer in the original Middle English. (Neve did say it was intelligent.) Actually, it's a clever switching scheme that prevents phantom power from entering sources that could be damaged by it, or is unnecessary to the operation of. In essence, you can't select phantom power unless you're in mic mode, and if you switch to line or DI mode while it was active in mic mode, it automatically shuts off in. It also does the same if you're in mic input mode with a rear-panel connection and switch to front-panel input without turning of phantom power first. It does this in case you already have an instrument connected that doesn't want to see phantom power. You can also think of it as a failsafe in case you were planning to plug in a ribbon mic, which can easily be fried by phantom power. See? Smart.
REGenerate feature
As we mentioned above, REGenerate enables you to run the line or DI input through the mic input, with the associated level control of the input modes. This feature enables you to dial in some dirt, so to speak. You can go from crunch to creamy and warm. The 88LRB preamp gives you clean and open audio capture, while REGenerate gives you the character. You can use REGenerate in tracking or mixing as an instrument effect, such as a little distortion to bring a bass forward in the mix, or, speaking of the mix, you can use it across the main mix bus (assuming you have two 88LRBs) to warm up your mix on those cold digital nights.
While you may not have the room, budget, or floorboards that can handle “the Rolls Royce of the industry” as the late Sir George Martin called the Neve 88RS, with the AMS Neve 88LRB in your lunchbox, you don't have to settle for anything other than the absolute best when it comes to capturing the beauty, energy, and excitement of your recordings. Order yours today. For more information, call or chat online with your PAD Studio Specialist.
Specifications
Mic Input
- Input impedance > 1.2k ohm (transformer-balanced and earth free)
- Gain: +20dB to+70dB in 5dB steps
- Frequency response: 20Hz-20kHz +/- 0.5dB, @ 60db gain
- Distortion 40Hz-20kHz @ 60dB gain, <0.025% @ +20dBu output with 80kHz bandwidth
- EIN: Better than -126dBu @60dB gain
Line Input
- Input impedance >10k ohm (electronically balanced)
- Gain range: -20dB to +20dB
- Frequency response: 20Hz-20kHz +/- 0.25dB
- Distortion: 20Hz-20kHz @ unity gain, <0.0025% @ +20dBu output with 80kHz bandwidth
- Noise: <-87dBu 20Hz-20kHz bandwidth @ unity gain
DI Output
- Input impedance: > 500k ohm
- Gain range: 0dB to +50dB
- Frequency response: 20Hz-20kHz +/- 0.25dB
- Distortion: 20Hz-20kHz @ 0dB gain, <0.0025% @ +20dBu output with 80kHz bandwidth
- Noise: < -87dBu 20Hz-20kHz bandwidth @ minimum gain
Physical
- Height: 5-1/4" / 132 mm
- Width: 1-1/2" / 38 mm
- Depth 5-3/4" / 145 mm
- Weight: 1.1 lb. 0.5 kg
AMS Neve 88RS
Regular price $0.00 Save $0.00The AMS Neve 88RS is an inline analog console built for surround mixing, featuring Encore Plus automation, Neve fidelity, and audio performance beyond 24-bit/192kHz resolution.
Called the “‘Rolls Royce' of the industry” by the late Sir George Martin, the AMS Neve 88RS is the console of choice for Skywalker Sound, AIR Studios Lyndhurst, Abbey Road, Fox Newman Scoring Stage, Warner Brothers' Eastwood Scoring Stage, Conway Studios, Capitol Records, The Village, Sony Pictures, and Ocean Way, to name a few. The 88RS can be operationally divided into two halves (to either side of the master control panel) with independent status control and split mix buses. Surround sound is built in, which means that the I/O module pan pots have both LCR multichannel and LR stereo pan laws. There are also dedicated surround mix buses, monitoring, and metering features. The 88RS uses AMS Neve's cross-platform Encore automation system with a fully integrated recall system for storing and recalling control settings. Encore also assists in console configuration tasks such as overdubbing, but if you want to go full old-school analog, the 88RS can also be operated manually without Encore.
Pro Audio Design can deliver, wire, and provide ongoing support for your new Neve 88RS as we have done for world-class studios and educational facilities around the globe. If you wish to be in the company of such studios or want the ultimate competitive edge in the marketplace, upgrade your Studio A or B to the unparalleled sonic purity and fidelity of the Neve 88RS.
AMS Neve 88RS Unique Features:
- Inline monitoring architecture with console split feature enables four simultaneous mixes
- Designed for surround from inception, 5.1 monitoring standard
- Audio performance beyond 24-bit/192kHz digital
- The clearest pure signal path with no VCAs
- Encore Plus automation
- AFL surround solo monitor
- Latest VCA technology for low noise and excellent low-level distortion
- Fader starts on all channel faders, all VCA group faders, and all output faders
- Enhanced Neve spectral format equalization
- Legendary Neve soft knee compression
- Remote mic amp option
- Enhanced “S” channel strip
AMS Neve 88RS-Just the Facts:
- Motorized large and small faders
- Over-press PFL on each channel fader
- Four main output faders, L/R, C, S, and LS/RS
- Solo system defaults to safe mode
- Acoustically optimized frame
- Available with or without patchbay
- 24-step precision volume control
- Two faders per channel strip
- Optional SP2 scoring panel, stem mixer, and remote preamps
AMS Neve 88RS-Beneath the Surface
Inline Monitor Console with Split Function
88RS is Neve's completely new electronic and mechanical design, while based on classic Neve attention to audio quality, mechanical detail, and ergonomics. The Neve 88RS starts at 24 channels (48 mic inputs) and is expandable by 12-channel buckets. The 88RS comes with a range of options including the SP2 Scoring Panel, the powerful Stem Mixer, and Classic Neve remote mic pre-amps. A range of essential features for broadcasters is also available, including a redundant PSU, VCA fader system, and rugged streamline frame designed purposely for OB trucks. The 88RS is capable of broadcasting and recording simultaneously.
Signal flow through the console can be tailored for recording, mixdown and overdub tasks using central master controls in conjunction with local channel switches. Each channel strip contains all the facilities necessary for multi-track recording, overdubbing and mixdown. Two distinct signal paths are processed by each input module. The channel path handles input sources during recording and tape playback during mixdown. The monitor path is used primarily for monitoring multi-track sends and returns when recording and for effects sends or returns during mixdown. The monitoring path can also provide additional tape inputs for large mixdown operations.
Built for surround from the ground up
After its introduction in 1998, the 88R found its place in film score recording and mixing. In 2003, Sony Pictures commissioned a custom surround stem management/monitor panel from Neve based on input from Oscar-winning mixer Shawn Murphy, 4-time Oscar-nominated mixer Dennis S. Sands, C.A.S-winner Simon Rhodes, Sony's Pat Weber and Mark Koffman, and AIR Studios' Geoff Foster. Incorporating such input from professional users, the 88RS was reimagined for surround while retaining its stereo music production facilities. What that means is that surround sound is built in; the I/O module pan pots have both LCR and LR (stereo) pan laws. Also, there are dedicated surround mix busses, monitoring, and metering features. Mix busses, metering, and monitoring are configured for stereo, LCRS, 5.1, or 7.1* in a single movement via switches on the central re-assign panel.
*Standard 88RS consoles are capable of stereo, LCRS and 5.1 operation. 7.1 format mixing requires the optional “SP2” scoring panel.
The clearest pure signal path with no VCAs
The desk's 100kHz analog bandwidth* surpasses the resolution of 24-bit/192khz digital quality and has been engineered to deliver recordings of the highest conceivable quality onto any format at any sample rate, capturing all the energy and atmosphere of the original performance as perfectly as possible. There are no VCAs or MDAC's (digital audio controllers) in any audio path, including the monitor section. As the centerpiece of recordings ranging from Daft Punk's homage to the '70s to the Kronos Quartet to Christophe Beck's score for the film Frozen, the Neve 88RS has a proven ability to handle any type of music, whether it's raucous rock, acapella chorale, or full tutti symphonic score with a side order of guitar and synthesizers à la Hans Zimmer.
Latest VCA technology for low noise and excellent low-level distortion
In normal monitoring mode, there are no VCA's in the signal path; the volume control is a 24-step switched passive control. VCA'S only get switched into the monitoring path for dim and AFL/PFL monitoring.
*PAD Tech Note: Rupert Neve was the first pro audio designer to realize that preamps band-limited to 20kHz (the supposed upper limit of human hearing) were not telling the whole story. Mr. Neve reasoned that since harmonics above the range of human hearing exist in nature, and nature doesn't engage in unnecessary excess, they must be taken into account. If nothing else, the popularity of the 1073 preamp to this day (released in 1970) proves him correct. However, it was Abbey Road's Geoff Emerick who heard “something wrong” with a channel on a newly commissioned Neve desk at Abbey Road. Eventually, after much troubleshooting, Mr. Neve discovered a capacitor wired improperly, which impacted the signal at 60kHz! That experience validated his initial hypothesis. To this day, Mr. Neve's favorite proof of the impact of ultra-high frequencies on the audible spectrum is to output a sine wave on a signal generator at 12kHz (which anyone should be able to hear) and switch it to a square wave, which everyone can easily identify. When you realize that a square wave is simply the addition of a sine wave an octave higher than the fundamental (24kHz added to 12kHz), it becomes readily apparent that ultra-high frequencies do affect the audible spectrum. Further audio research has shown that the linearity of frequencies well beyond human hearing do have an audible impact. A signal 3dB down at 25kHz can show a measured in-band phase shift of roughly -50 degrees (10kHz!).
Enhanced “S” channel strip
While the “S” primarily relates to surround mixing, there are also improvements to EQ and dynamics sections. Each channel strip contains all the facilities necessary for multi-track recording, overdubbing and mixdown. While its functional design is traditional inline architecture, the 88RS has the powerful feature of split operation, which means that the console can be operationally divided into two halves (to the left and right of the master control panel) with independent status control and split mix busses. The various I/O module sections can be switched between the two paths, allowing the operator to configure each path with the optimum processing.
AFL surround solo monitor
The 88RS has a sophisticated solo system with selectable momentary, interlocking, and latching action push-buttons performing either solo in place, PFL (pre-fader listen) or surround AFL (after-fader listen). Another very useful solo feature is “Isolate,” which is independently available for both the large and small faders. Isolate defeats the channel and monitor solo mutes, which enables the channel to be used as a reverb/effects return.
Enhanced Neve spectral formant equalization
The Spectral Formant EQ has four overlapping frequency bands with more frequency ranges and a relatively sharp curve at either end (LF 33-370 Hz, LMF 190 Hz-2 kHz, HMF 0.8-8.7 kHz, HF 1.5-17 kHz). It has up to +/-20dB boost/cut, more Q range (bandwidth), and non-overlapping low-frequency sections. The low-frequency and high-frequency bands are switchable peak or shelf filters, while the low-mid and high-mid bands have a flexible Q control. The equalizer section can be switched before or after the dynamics section.
Legendary Neve soft-knee compression
Full limiter/compressor and gate/expander facilities are available on every channel (each of which can be individually switched in or out of circuit). The compressor is more musical with classic Neve soft knee for transparent performance, or hard knee choices (for percussive sounds). It also has more threshold settings and slower attack and faster release times available. Similarly, the noise gate has a wider range and better control of threshold due to the inclusion of a hysteresis control. Hysteresis sets the difference in threshold for signals that are rising or falling in level, which helps to prevent gate chatter. Pulling out the release control inverts the key (control) signal to the gate, turning it into a “ducker”.
Fader starts on all channel faders, all vca group faders, and all output faders
A “fader start” is a very useful feature in Neve's Encore Plus automation. Fader Start enables you to select a relay from the optional Relay Control Unit or relays associated with controls in the signal path, which can be toggled or closed by moving the fader up. For example, set to Mic for Channel 1, the fader relay will only fire (when the fader is over-pressed) if Channel 1 is switched to Mic and there is a source connected to the Mic input.
Encore Plus automation
The 88RS is equipped with the groundbreaking Encore Plus automation system. Encore Plus combines the best of Flying Faders for music with the Logic automation system for post-production, creating the ultimate music and music-for-picture automation system. A cross-platform system, Encore features fully integrated recall for storing and recalling control positions. In addition to dynamic automation and recall, Encore assists in console configuration tasks such as overdubbing. The console can also run manually without Encore. In the event of a computer failure, the 88RS continues to function seamlessly.
Options
The 88RS comes with a range of options including the SP2 Scoring Panel, which enables 7.1 surround, the powerful Stem Mixer, and Classic Neve remote mic preamps. It's interesting to note that with access to a wall full of the best preamps and custom modifications, Alan Sides of Ocean Way prefers the sound of the remote 1081R and Air preamps that came with his 88R.
What the pros are saying about the Neve 88RS
When Daft Punk set out to make Random Access Memory, their spare-no-expense homage to the golden age of recording-where nothing but the best would do-the Grammy-winning album was tracked and mixed by 11-time Grammy winner, Mick Guzauski on Conway Studio's Neve 88R. Other notable Neve 88R owners and users include 20-time Grammy winner Al Schmitt, Alan Sides (Ocean Way Studios), 7-time Grammy winner Frank Filipetti, and Skywalker Sound's 4-time Grammy winner, Leslie Ann Jones. Here are some quotes:
“The new Neve 88R at the Village gave me the sound and integrity associated with vintage 1066 and 1081s while providing the convenience, ergonomics, and reliability of a modern desk.” - Roy Thomas Baker (Queen, The Cars, Journey)
“The 88RS is truly the next level of aural quality and console flexibility. The sonic quality of the console is unbelievable.” - Leslie Ann Jones (Skywalker Sound)
“The sound of the 88RS is unbelievable. It is the best sounding desk we have ever heard. It's a beautifully engineered, exquisitely manufactured piece of gear.” - Jeff Greenberg (The Village)
“I love this console… From the equalization to the dynamics this console is a class A product.” - Mark Miller (Allentown Studios)
“The 88RS is an awesome console. It's the ultimate in analog consoles.” -Tom Misner (Studios 301)
“Neve consoles are the ‘Rolls Royce' of the industry. You've got to do the right thing by your business. You've got to buy the right console at the right price. When it comes down to it, the Neve has the edge on any other.” - Sir George Martin
“The 88RS stood out as a no-compromise console that would provide exceptional sound quality and reliability whether we are recording a large classical ensemble, chamber group, jazz or rock.” - Scott Metcalfe (Director, Recording Arts and Sciences, Peabody Conservatory)
Professionals throughout the world have chosen the full, clean sound of the 88RS console. Its high-bandwidth pure audio path, superior dynamics, greater dynamic range, and superior control make the 88RS the first choice for recording studios and post-production facilities who demand the purest high fidelity recordings. For more information, contact your PAD Studio Integrator today.
AMS Neve BCM 10/2 Mk2
Regular price $55,950.00 Save $-55,950.00The AMS Neve BCM10/2 Mk2 is an updated reissue of the rare Neve BCM10/2 broadcast console featuring a choice of 1073N, 1073 Classic, or 1084 Classic preamps, two assignable 2264ALB 500-series compressors, direct channel outputs, four aux sends, 5.1 surround monitoring and more
Designed in 1969, the classic BCM10’s class-A design, transformer balanced topology delivered ultimate audio performance throughout the golden era of studio recording. The modern BCM10/2 MkII introduces routing & monitoring options for use in today’s studios, with multiple configurations to allow any artist, producer and engineer to harness the iconic Neve® sound.
For industry insiders, the story of the Neve BCM10/2 is a familiar one. What was intended to be a breakthrough broadcast console in 1970 became an affordable (relatively speaking) and/or convenient means of adding 10 channels of Neve 1073 preamps as a sidecar to a main console without having to pop for a full-blown Neve desk and try cramming it into your control room. It wasn't easy or cheap finding a number of Neve 1073 preamps ready for action. Due to their modular nature, they had to be removed from an existing vintage Neve desk (which people prefer to keep intact, rare as they are) and specially racked. Those in the know sought out the old BCM10/2 broadcast consoles, since one in decent condition gave you 10 already-racked 1073 preamps plus 1072 line amps in the summing matrix. Of course, the BCM10/2 was not without limitations for studio work. In short, the 10 input channels were summed to a stereo bus with no direct outputs per channel (unless modified), making it useful as a sub-mixer, but a tad clumsy as a recording desk. But all those vintage Neve 1073s in one package . . . drool . . .
AMS Neve BCM10/2 Mk2-Just the Facts:
- Class-A topology with Neve-designed custom transformers
- Console sizes: 10,16, 24, or 32 channels
- Choice of 1073N, 1073 Classic, and 1084 Classic preamps for channel input
- Classic 1272 summing bus gain makeup
- 2x 500-series slots fitted with Neve 2264ALB compressors, patchable or selectable across the mix bus
- Direct outputs on every channel selectable pre- or post-channel insert
- Simple input to each channel doubles the mix inputs and also allows monitor and cue mixes
- 4x aux sends, 1x stereo cue, 1x main stereo mix bus
- Stereo and 5.1 monitoring with passive 24 position gold plated monitor level control
- 3x stereo and 1x 5.1 selectable loudspeaker output sets
- Comprehensive solo system with destructive and safe/isolate modes
- 2x Stereo reverb returns with width, mono, and balance controls & 2x mono DI to bus inputs
- Main mix output insertion selectable pre-or post-fade with IMR (Insert Mix Return) parallel processing controls
- 25-way D-sub connectivity for easy installation into home or studio environments
-
Optional side car stand on castors
AMS Neve BCM10/2 Mk2-Beneath the Surface
After decades of requests from audio professionals and witnessing a feeding frenzy in the vintage markets for old BCM10/2s, AMS Neve answered the call with the recording-oriented BCM10/2 Mk2-and then upped the ante with 16-, 24-, and 32-channel configurations, optional patchbay, mix-bus compression, aux sends, 5.1 monitoring, and more. If you're looking for a no-frills, “just the fact's ma'am” type of console with the world's best-sounding preamps and EQs, this is the desk for you. With 24 channels of 1073N preamps, plus the ability to upgrade to 1073 Classic and 1084 Classic preamp/EQs, the BCM24/2 Mk2 gives you all the analog sound and fury that 1s and 0s just can't compete with.
BCM10/2 Mk2 options
To make the BCM10/2 Mk2 studio friendly or more than just a sidecar, AMS Neve offers a number of options:
- 10, 16, 24 or 32 channel configurations
- Neve 1073N mic preamps fitted as standard, upgrade to 1073 Classic or 1084 Classic on specified channels
- Pair of loudspeaker shelves - mount on top of the console
- Sidecar stand with lockable castors (32-fader stand has fixed feet)
General Specification
- Neve® classic sound using Class A topology
- Console sizes: 10,16,24, 32 or 48 channels
- 1073N microphone preamp and EQ module in each channel
- Classic voltage mixing using 1272 balanced mixing topology
- 2x 500-series slots fitted with Neve 2264ALB compressors, patchable or selectable across the Mix Bus
- Direct outputs on every channel selectable pre or post channel insert
- Simple Input to each channel doubles the mix inputs when mixing and also allows monitor and cue mixes
- 4x Auxes, 1x Stereo Cue, 1x Stereo Main Mix Bus
- Stereo and 5.1 monitor with passive 24 position gold plated monitor level control
- 3x Stereo & 1x 5.1 selectable loudspeaker output sets
- Comprehensive Solo system with destructive and safe/isolate modes
- 2x Stereo reverb returns with width, mono and balance controls & 2x mono DI to bus inputs
- Main Mix output insertion selectable pre or post fade with IMR (Insert Mix Return) parallel processing controls
- 25-way D-sub connectivity for easy installation into home or studio environments
Audio Performance
Mic Input (Transformer-balanced) to Insert Send
- Headroom – >+28.5dBu @ 10kohms bridging (<0.5% THD+N)
- Frequency Response – Typically +/- 0.25dB, 20Hz to 20kHz
- Distortion (THD+N) – Typically 0.028% @ 1kHz (measured at +20dBu 10Hz to 80kHz filter)
- Noise (EIN) – <-126.0 dBu (20Hz to 22kHz filter, 60dB gain, input terminated 150Ω R)
Line Input to Mix Output
- Headroom – >+28.5dBu @ 10kohms bridging (<0.5% THD+N)
- Frequency Response – Typically +/- 0.25dB, 20Hz to 20kHz
- Distortion (THD+N) – Typically 0.028% @ 1kHz (measured at +20dBu 10Hz to 80kHz filter)
- Noise (EIN) – <-126.0 dBu (20Hz to 22kHz filter, 60dB gain, input terminated 150Ω R)
- Mix bus Noise – typically -86dBu 20Hz to 20kHz filter
- Output noise – typically -95dBu 20Hz to 20kHz filter
Dimensions
- Height (on stand) to top of speaker shelf – 998mm (39.2 inches)
- Height (on stand) to top of faders – 754mm (29.6 inches)
- Height (without stand) to top of speaker shelf – 455mm (17.9 inches)
- Height (without stand) to top of faders – 210mm (8.2 inches)
- Depth – 1096mm (43.1 inches)
- Width (10 channel console) – 878mm (34.5 inches)
- Width (16 channel console) – 1158mm (45.5 inches)
- Width (16 channel console with producers table) – 1900mm (74.8 inches)
- Width (24 channel console) – 1529mm (60.1 inches)
- Width (24 channel console with producers table) – 2271mm (89.4 inches)
- Width (32 channel console) – 1900mm (74.8 inches)
PAD For the Record-The simple truth is that analog consoles can do things that can't be done by mouse or control surface. One such function is riding input faders-the secret to tracking superstar vocals and making a mix percolate with excitement. As any industry pro will tell you, riding faders will always sound better than compression, since there are no artifacts, no raised noise floor, and no loss of transients. Plus, you can anticipate wide dynamic swings where a compressor can only respond after the fact. Yes, it's risky, but that's what separates the pros from the wannabes: rising to the occasion and daring to be great. Another reason to go analog is that pulling back a DAW fader changes the sound, as mixers such as Chris Lord-Alge and Alan Sides will confirm. Lowering volume on a digital fader reduces word-length and subsequently resolution, which changes the makeup of the sound (it gets fuzzy). Whereas in analog, the signal maintains its texture and punch, while the integrity of its wave shape stays intact regardless of level.
PAD Tech Note: Neve 1066, 1073, 1081, and 1084; what's the difference?
In the early seventies, Neve consoles were modular enabling studios to choose their channel count. The 10-series preamp/EQ modules, which included the 1066, 1073, 1081, 1084, and 1072 line amp were built to populate 80-series consoles. They all share the same input and output stages, but differ in terms of equalizer bands having different center frequencies and slopes. The concept was to offer engineers a variety of EQ options while maintaining sonic consistency throughout the desk. In essence, with the exception of the 1072, which was designed for the gain makeup of the summing matrix, they are all essentially the same preamp with different EQs.
Hybrid mixing with the BCM10/2 Mk2-the best of both worlds
If repeatability is an essential part of your workflow due to client change-requests coming days or weeks after a mix is finished, you can still use a stellar-sounding analog desk for summing or stem mixing. Just set your faders at -20dB, send your stems to the console, and do your automation in the DAW. Even if you route to some outboard, it's still much easier to recall a mix than if you did everything in the analog domain-and with a BCM10/2, you get the benefits of all those custom Neve transformers warming and widening your mix.
Another benefit of going through a console is that you don't have to be as careful with your track levels in the DAW. Once you have your sound, red lights be damned (especially with 32-bit floating-point processing). Just make sure you're not losing your tops, watch levels going back into the DAW, and Bob's your uncle.
At the end of the day, it's sound quality, emotion, and human interaction that makes great music-something that crunching numbers in a no-risk environment just can't stand up to. If you want to make records the way records should be made, there's no substitute for a great-sounding console and the ability to mix like you're playing an instrument.
Upgrade Options
AMS Neve BCM 1073N to 1073 Classic Upgrade (Per Channel)
AMS Neve BCM 1073N to 1084 Upgrade (Per Channel)
For more information on the AMS Neve BCM10/2 Mk2, or other Neve consoles that may better suit your needs, call or chat online with your PAD Studio Integrator today.
Options
Connectivity
AMS Neve BCM 1073N to 1073 Classic Upgrade (Per Channel)
Regular price $1,375.00 Save $-1,375.00AMS Neve BCM 1073N to 1073 Classic Upgrade (Per Channel)
1073N
The 1073® with a Modern Twist
Designed and built in England, the modern-day 1073N is the perfect choice for producers looking to access classic Neve® sound in a true-to-form 80-series module.
Classic 80-Series
The 1073N was constructed as a true-to-form 80-series module. This exacting specification means that the 1073N can replace vintage modules housed in the legendary 1970’s Neve® consoles using the gold-plated 18 pin rear connector.
Horizontal or Vertical Configurations
There’s no need to worry for those who are not lucky enough to own a classic Neve® console, as the 1073N comes in two configurations depending on your requirements. Horizontal modules can be racked together as a stereo pair in the Neve 3U stereo rack. Additionally, eight vertical modules can be housed in the 5U vertical rack.
Standalone Use
A great benefit of the 1073N is using the unit standalone without a console or rack. The 1073N has independent, external PSU, XLR connections and metal casing, meaning this classic preamp can be placed anywhere in the studio or taken on the road. Ultimate quality, any time, anywhere.
Instrument DI
The 1073N is the ideal modern standalone 1073®, featuring an independent DI circuit and connection with earth lift and -20dB pad for recording any instrument directly into the 1073N.
Marinair® Transformers
Exclusive Marinair® transformers are used on the microphone input, line input, and output stage to produce that classic Neve 1073® sound throughout.
Class A Discrete
The 1073N retains the discrete, class-A topology made famous by the classic 1073®. Taking this technology forward, the 1073N uses a combination of modern production techniques, including our unique, in-house SMT. Still, crucially, the discrete audio path is constructed using through-hole methods, including mounting of the Marinair® transformers and class-A transistor-based amplifiers.
Inductor-Based EQ
Like the original 1073®, the 1073N uses the original, custom hand-wound inductors manufactured exclusively in the Uk. The 3-band inductor based EQ produces musical results across the frequency spectrum, the mid bell-curve band features ideal presence ranges for male and female vocals with +/-18dB of gain, with high and low shelving bands with +/-16dB gain.
Unique 1073® Gain Staging
The classic 5dB stepped Elma switch delivers accurate gain levels throughout the gain range. This unique layout means there is no need for a mic/line switch; the pot itself selects the preamp and input. Three distinct gain stages are provided by two independent transistor-based preamplifiers producing high gain for any DI, line input or microphone signal.
High Output - Harmonic Saturation
By combining the two preamps together, the 1073® preamp can deliver up to 80dB of microphone gain, bringing out the musical drive and harmonic saturation that the 1073 is famous for.
Phase Invert
The 180-degree phase flip feature is extremely useful in multi-microphone setups with multiple preamps, ideal for top and bottom snare micing.
Lo-Z Impedance
With settings of 1.2kΩ and 300Ω, the 1073LB impedance can be optimised for use with a wide range of modern or vintage microphones.
1073 Classic
The only genuine 1073 is Neve
Launched in 1970, the 1073® is the first choice of leading producers and artists, delivering the unique Neve® sound on some of the most famous recordings of the past six decades. Although there have been numerous attempts to copy the 1073, ours are the only true modules on the market.
Hand Built in the UK
The 1073® is entirely handcrafted here in the UK by our Neve® Engineers. All of the units constructed today follow the original, pencil-on-paper designs drafted by Rupert Neve himself. This original construction method, using point-to-point wiring, fibreglass tracking and original components, takes time. However, it is necessary to ensure that ultimate care is taken when constructing this legendary module.
Marinair® Transformers
The exclusive Marinair® specification input transformers, used in the 1073® module, were a collaboration between Neve Electronics and the Marinair Radar company in the late ’60s & early ’70s. The Marinair specification for the 10468 Mic input transformer and 31267 line input transformer is exclusive to Neve and is manufactured here in the UK for all of our 1073’s. This is used to produce the balanced, subtle harmonic saturation for which the 1073 is famous.
Transformer-Balanced Output
The 1073’s LO1166 gapped output transformer was designed entirely by Rupert Neve in 1964 for use in his first transistorised console, designed for Phillips Records Ltd. This design has remained under lock & key at Neve HQ for the past 6 decades, used exclusively by Neve® to produce a transformer balanced output stage for the 1073®.
Class A Discrete
The 1073® uses a discrete class-A circuitry throughout, while not the most efficient design in terms of power consumption; this design is entirely free from crossover distortion and produces a subtle warm & musical analogue hue to any line or microphone source.
Unique 1073® Gain Staging
The classic 5dB stepped Elma switch delivers accurate gain levels throughout the gain range. This unique layout means there is no need for a mic/line switch; the pot itself selects the preamp and input. Three distinct gain stages provided by two independent transistor-based preamplifiers provide gain for line input or microphone signal. By combining the two preamps, the 1073® preamp can deliver up to 80dB of microphone gain, bringing out the musical drive and harmonic saturation that gives the 1073 its fame.
Exclusive Inductors
The iconic 1073 EQ section uses handcrafted inductors manufactured exclusively for Neve in the UK. These inductors follow the original, unpublished specification laid out in the 1073 module design for the 1070 Wessex A88 console, in which the EQ had to perform across a wide range of signal sources.
Three-Band EQ
Rupert’s team carefully selected the frequency points for each of the three EQ bands. The high shelf is fixed at 12kHz, selectable bell curve mid-range with optimal presence frequency points and selectable low shelf frequency points; the 1073’s EQ section produces musical results across a wide range of signal sources.
18dB/Octave HPF
Complimenting the three-band EQ is the 1073’s famous 3rd order high pass filter. This sound sculpting tool is ideal for tailoring signals when tracking through the unit, removing unwanted low frequencies from high register instruments.
Phase Invert
The 180-degree phase flip feature is handy in multi-microphone setups with multiple preamps, ideal for top and bottom snare micing.
High/Low Impedance
The 1073® module has two impedance settings accessed via the rear-mounted Hi/Lo switch. With settings of 1.2kΩ and 300Ω, the impedance can be optimised for use with a wide range of modern or vintage microphones.
Horizontal or Vertical Orientation
The 1073® comes in two orientations, vertical and horizontal. Vertical orientation modules can be built to install into a console or an 8-module rack. Additionally, horizontal modules can be built for use in the 3U stereo pair rack.
AMS Neve BCM 1073N to 1084 Upgrade (Per Channel)
Regular price $2,145.00 Save $-2,145.00AMS Neve BCM 1073N to 1084 Upgrade (Per Channel)
1073N
The 1073® with a Modern Twist
Designed and built in England, the modern-day 1073N is the perfect choice for producers looking to access classic Neve® sound in a true-to-form 80-series module.
Classic 80-Series
The 1073N was constructed as a true-to-form 80-series module. This exacting specification means that the 1073N can replace vintage modules housed in the legendary 1970’s Neve® consoles using the gold-plated 18 pin rear connector.
Horizontal or Vertical Configurations
There’s no need to worry for those who are not lucky enough to own a classic Neve® console, as the 1073N comes in two configurations depending on your requirements. Horizontal modules can be racked together as a stereo pair in the Neve 3U stereo rack. Additionally, eight vertical modules can be housed in the 5U vertical rack.
Standalone Use
A great benefit of the 1073N is using the unit standalone without a console or rack. The 1073N has independent, external PSU, XLR connections and metal casing, meaning this classic preamp can be placed anywhere in the studio or taken on the road. Ultimate quality, any time, anywhere.
Instrument DI
The 1073N is the ideal modern standalone 1073®, featuring an independent DI circuit and connection with earth lift and -20dB pad for recording any instrument directly into the 1073N.
Marinair® Transformers
Exclusive Marinair® transformers are used on the microphone input, line input, and output stage to produce that classic Neve 1073® sound throughout.
Class A Discrete
The 1073N retains the discrete, class-A topology made famous by the classic 1073®. Taking this technology forward, the 1073N uses a combination of modern production techniques, including our unique, in-house SMT. Still, crucially, the discrete audio path is constructed using through-hole methods, including mounting of the Marinair® transformers and class-A transistor-based amplifiers.
Inductor-Based EQ
Like the original 1073®, the 1073N uses the original, custom hand-wound inductors manufactured exclusively in the Uk. The 3-band inductor based EQ produces musical results across the frequency spectrum, the mid bell-curve band features ideal presence ranges for male and female vocals with +/-18dB of gain, with high and low shelving bands with +/-16dB gain.
Unique 1073® Gain Staging
The classic 5dB stepped Elma switch delivers accurate gain levels throughout the gain range. This unique layout means there is no need for a mic/line switch; the pot itself selects the preamp and input. Three distinct gain stages are provided by two independent transistor-based preamplifiers producing high gain for any DI, line input or microphone signal.
High Output - Harmonic Saturation
By combining the two preamps together, the 1073® preamp can deliver up to 80dB of microphone gain, bringing out the musical drive and harmonic saturation that the 1073 is famous for.
Phase Invert
The 180-degree phase flip feature is extremely useful in multi-microphone setups with multiple preamps, ideal for top and bottom snare micing.
Lo-Z Impedance
With settings of 1.2kΩ and 300Ω, the 1073LB impedance can be optimised for use with a wide range of modern or vintage microphones.
1084
Taking the Legendary 1073 Design to the Next Level.
While the 1084 builds on the same basic design of the world-famous 1073®, it offers a significantly different palette of frequency selections. The 1084 also features a “Q” switch, allowing the user to choose between two different Q types, either narrow or wide with respect to the parametric band.
Hand Built in the UK
Hand-built in our 60,000 square foot factory, based in Burnley UK. The 1084 follows the original 80 series module specification from the early days of Neve®.
An Enhanced 1073®
The 1084 builds on the same basic design of the world-famous 1073®; however, it offers a significantly different palette of frequency selections. In addition, the 1084 features a “Q” switch, allowing the user to choose between two different Q types, either narrow or wide, concerning the parametric band.
Expanded EQ
The 1084’s improved EQ section builds upon the sonic foundation laid down by the 1073®, featuring selectable high shelf frequency points for greater control over the airband, Hi-Q mid-band setting for greater precision over the presence range and an added low pass filter to complement the 1073’s HPF.
Marinair® Transformers
The 1084 uses the same Marinair® specification transformers as the 1073® for its microphone & line inputs and on the balanced line output stage helping to produce classic Neve® module character.
Class A Discrete
The 1084 uses discrete class-A circuitry throughout, this design is entirely free from crossover distortion and produces a subtle warm & musical analogue hue to any line or microphone source.
Unique 1073® Gain Staging
The classic 5dB stepped Elma switch delivers accurate gain levels throughout the gain range. This unique layout means there is no need for a mic/line switch; the pot itself selects the preamp and input. Three distinct gain stages provided by two independent transistor-based preamplifiers provide gain for any DI, line input or microphone signal.
High Output - Harmonic Saturation
Combining the two preamps, the 1073® preamp found in the 1084, can deliver up to 80dB of microphone gain, bringing out the musical drive and harmonic saturation that gives the 1073 its fame.
Phase Invert
The 180-degree phase flip feature is extremely useful in multi-microphone setups with multiple preamps, ideal for top and bottom snare micing.
High/Low Impedance
The 1084 module has two impedance settings accessed via the rear-mounted Hi/Lo switch. With settings of 1.2kΩ and 300Ω, the impedance can be optimised for use with a wide range of modern or vintage microphones.
High/Low Impedance
The 1084 module has two impedance settings accessed via the rear-mounted Hi/Lo switch. With settings of 1.2kΩ and 300Ω, the impedance can be optimised for use with a wide range of modern or vintage microphones.
AMS Neve BCM 16/2 Mk2
Regular price $76,950.00 Save $-76,950.00The AMS Neve BCM16/2 Mk2 is an updated reissue of the rare Neve BCM10/2 broadcast console featuring a choice of 1073N, 1073 Classic, or 1084 Classic preamps, two assignable 2264ALB 500-series compressors, direct channel outputs, four aux sends, 5.1 surround monitoring and more
For industry insiders, the story of the Neve BCM10/2 is a familiar one. What was intended to be a breakthrough broadcast console in 1970 became an affordable (relatively speaking) and/or convenient means of adding 10 channels of Neve 1073 preamps as a sidecar to a main console without having to pop for a full-blown Neve desk and try cramming it into your control room. It wasn't easy or cheap finding a number of Neve 1073 preamps ready for action. Due to their modular nature, they had to be removed from an existing vintage Neve desk (which people prefer to keep intact, rare as they are) and specially racked. Those in the know sought out the old BCM10/2 broadcast consoles, since one in decent condition gave you 10 already-racked 1073 preamps plus 1072 line amps in the summing matrix. Of course, the BCM10/2 was not without limitations for studio work. In short, the 10 input channels were summed to a stereo bus with no direct outputs per channel (unless modified), making it useful as a sub-mixer, but a tad clumsy as a recording desk. But all those vintage Neve 1073s in one package . . . drool . . .
AMS Neve BCM10/2 Mk2 - Just the Facts:
- Class-A topology with Neve-designed custom transformers
- Console sizes: 10,16, 24, or 32 channels
- BCM16/2 Mk2 features 16 Channels
- Choice of 1073N, 1073 Classic, and 1084 Classic preamps for channel input
- Classic 1272 summing bus gain makeup
- 2x 500-series slots fitted with Neve 2264ALB compressors, patchable or selectable across the mix bus
- Direct outputs on every channel selectable pre- or post-channel insert
- Simple input to each channel doubles the mix inputs and also allows monitor and cue mixes
- 4x aux sends, 1x stereo cue, 1x main stereo mix bus
- Stereo and 5.1 monitoring with passive 24 position gold plated monitor level control
- 3x stereo and 1x 5.1 selectable loudspeaker output sets
- Comprehensive solo system with destructive and safe/isolate modes
- 2x Stereo reverb returns with width, mono, and balance controls & 2x mono DI to bus inputs
- Main mix output insertion selectable pre-or post-fade with IMR (Insert Mix Return) parallel processing controls
- 25-way D-sub connectivity for easy installation into home or studio environments
-
Optional side car stand on castors
AMS Neve BCM10/2 Mk2 - Beneath the Surface
After decades of requests from audio professionals and witnessing a feeding frenzy in the vintage markets for old BCM10/2s, AMS Neve answered the call with the recording-oriented BCM10/2 Mk2 - and then upped the ante with 16-, 24-, and 32-channel configurations, optional patchbay, mix-bus compression, aux sends, 5.1 monitoring, and more. If you're looking for a no-frills, “just the fact's ma'am” type of console with the world's best-sounding preamps and EQs, this is the desk for you. With 24 channels of 1073N preamps, plus the ability to upgrade to 1073 Classic and 1084 Classic preamp/EQs, the BCM24/2 Mk2 gives you all the analog sound and fury that 1s and 0s just can't compete with.
BCM10/2 Mk2 options
To make the BCM10/2 Mk2 studio friendly or more than just a sidecar, AMS Neve offers a number of options:
- 10, 16, 24 or 32 channel configurations
- Neve 1073N mic preamps fitted as standard, upgrade to 1073 Classic or 1084 Classic on specified channels
- Pair of loudspeaker shelves - mount on top of the console
- Sidecar stand with lockable castors (32-fader stand has fixed feet)
PAD For the Record - The simple truth is that analog consoles can do things that can't be done by mouse or control surface. One such function is riding input faders - the secret to tracking superstar vocals and making a mix percolate with excitement. As any industry pro will tell you, riding faders will always sound better than compression, since there are no artifacts, no raised noise floor, and no loss of transients. Plus, you can anticipate wide dynamic swings where a compressor can only respond after the fact. Yes, it's risky, but that's what separates the pros from the wannabes: rising to the occasion and daring to be great. Another reason to go analog is that pulling back a DAW fader changes the sound, as mixers such as Chris Lord-Alge and Alan Sides will confirm. Lowering volume on a digital fader reduces word-length and subsequently resolution, which changes the makeup of the sound (it gets fuzzy). Whereas in analog, the signal maintains its texture and punch, while the integrity of its wave shape stays intact regardless of level.
PAD Tech Note: Neve 1066, 1073, 1081, and 1084; what's the difference?
In the early seventies, Neve consoles were modular enabling studios to choose their channel count. The 10-series preamp/EQ modules, which included the 1066, 1073, 1081, 1084, and 1072 line amp were built to populate 80-series consoles. They all share the same input and output stages, but differ in terms of equalizer bands having different center frequencies and slopes. The concept was to offer engineers a variety of EQ options while maintaining sonic consistency throughout the desk. In essence, with the exception of the 1072, which was designed for the gain makeup of the summing matrix, they are all essentially the same preamp with different EQs.
Hybrid mixing with the BCM10/2 Mk2 - the best of both worlds
If repeatability is an essential part of your workflow due to client change-requests coming days or weeks after a mix is finished, you can still use a stellar-sounding analog desk for summing or stem mixing. Just set your faders at -20dB, send your stems to the console, and do your automation in the DAW. Even if you route to some outboard, it's still much easier to recall a mix than if you did everything in the analog domain - and with a BCM10/2, you get the benefits of all those custom Neve transformers warming and widening your mix.
Another benefit of going through a console is that you don't have to be as careful with your track levels in the DAW. Once you have your sound, red lights be damned (especially with 32-bit floating-point processing). Just make sure you're not losing your tops, watch levels going back into the DAW, and Bob's your uncle.
At the end of the day, it's sound quality, emotion, and human interaction that makes great music - something that crunching numbers in a no-risk environment just can't stand up to. If you want to make records the way records should be made, there's no substitute for a great-sounding console and the ability to mix like you're playing an instrument.
Upgrade Options
AMS Neve BCM 1073N to 1073 Classic Upgrade (Per Channel)
AMS Neve BCM 1073N to 1084 Upgrade (Per Channel)
For more information on the AMS Neve BCM24/2 Mk2, or other Neve consoles that may better suit your needs, call or chat online with your PAD Studio Integrator today.
Options
Connectivity
AMS Neve BCM 16/2-DAW
Regular price $76,950.00 Save $-76,950.00Newly added to the BCM line, the new BCM16-DAW combines 16 channels of Neve 1073 input channels with a producers desk in the center of the console to accommodate a flatscreen monitor and/or control surface, such as the Avid S3.
The AMS Neve BCM10/2 Mk2 is an updated reissue of the rare Neve BCM10/2 broadcast console featuring a choice of 1073N, 1073 Classic, or 1084 Classic preamps, two assignable 2264ALB 500-series compressors, direct channel outputs, four aux sends, 5.1 surround monitoring and more
For industry insiders, the story of the Neve BCM10/2 is a familiar one. What was intended to be a breakthrough broadcast console in 1970 became an affordable (relatively speaking) and/or convenient means of adding 10 channels of Neve 1073 preamps as a sidecar to a main console without having to pop for a full-blown Neve desk and try cramming it into your control room. It wasn't easy or cheap finding a number of Neve 1073 preamps ready for action. Due to their modular nature, they had to be removed from an existing vintage Neve desk (which people prefer to keep intact, rare as they are) and specially racked. Those in the know sought out the old BCM10/2 broadcast consoles, since one in decent condition gave you 10 already-racked 1073 preamps plus 1072 line amps in the summing matrix. Of course, the BCM10/2 was not without limitations for studio work. In short, the 10 input channels were summed to a stereo bus with no direct outputs per channel (unless modified), making it useful as a sub-mixer, but a tad clumsy as a recording desk. But all those vintage Neve 1073s in one package . . . drool . . .
AMS Neve BCM10/2 Mk2-Just the Facts:
- Class-A topology with Neve-designed custom transformers
- Console sizes: 10,16, 24, or 32 channels
- Choice of 1073N, 1073 Classic, and 1084 Classic preamps for channel input
- Classic 1272 summing bus gain makeup
- 2x 500-series slots fitted with Neve 2264ALB compressors, patchable or selectable across the mix bus
- Direct outputs on every channel selectable pre- or post-channel insert
- Simple input to each channel doubles the mix inputs and also allows monitor and cue mixes
- 4x aux sends, 1x stereo cue, 1x main stereo mix bus
- Stereo and 5.1 monitoring with passive 24 position gold plated monitor level control
- 3x stereo and 1x 5.1 selectable loudspeaker output sets
- Comprehensive solo system with destructive and safe/isolate modes
- 2x Stereo reverb returns with width, mono, and balance controls & 2x mono DI to bus inputs
- Main mix output insertion selectable pre-or post-fade with IMR (Insert Mix Return) parallel processing controls
- 25-way D-sub connectivity for easy installation into home or studio environments
-
Optional side car stand on castors
AMS Neve BCM10/2 Mk2-Beneath the Surface
After decades of requests from audio professionals and witnessing a feeding frenzy in the vintage markets for old BCM10/2s, AMS Neve answered the call with the recording-oriented BCM10/2 Mk2-and then upped the ante with 16-, 24-, and 32-channel configurations, optional patchbay, mix-bus compression, aux sends, 5.1 monitoring, and more. If you're looking for a no-frills, “just the fact's ma'am” type of console with the world's best-sounding preamps and EQs, this is the desk for you. With 24 channels of 1073N preamps, plus the ability to upgrade to 1073 Classic and 1084 Classic preamp/EQs, the BCM24/2 Mk2 gives you all the analog sound and fury that 1s and 0s just can't compete with.
BCM10/2 Mk2 options
To make the BCM10/2 Mk2 studio friendly or more than just a sidecar, AMS Neve offers a number of options:
- 10, 16, 24 or 32 channel configurations
- Neve 1073N mic preamps fitted as standard, upgrade to 1073 Classic or 1084 Classic on specified channels
- Pair of loudspeaker shelves - mount on top of the console
- Sidecar stand with lockable castors (32-fader stand has fixed feet)
PAD For the Record-The simple truth is that analog consoles can do things that can't be done by mouse or control surface. One such function is riding input faders-the secret to tracking superstar vocals and making a mix percolate with excitement. As any industry pro will tell you, riding faders will always sound better than compression, since there are no artifacts, no raised noise floor, and no loss of transients. Plus, you can anticipate wide dynamic swings where a compressor can only respond after the fact. Yes, it's risky, but that's what separates the pros from the wannabes: rising to the occasion and daring to be great. Another reason to go analog is that pulling back a DAW fader changes the sound, as mixers such as Chris Lord-Alge and Alan Sides will confirm. Lowering volume on a digital fader reduces word-length and subsequently resolution, which changes the makeup of the sound (it gets fuzzy). Whereas in analog, the signal maintains its texture and punch, while the integrity of its wave shape stays intact regardless of level.
PAD Tech Note: Neve 1066, 1073, 1081, and 1084; what's the difference?
In the early seventies, Neve consoles were modular enabling studios to choose their channel count. The 10-series preamp/EQ modules, which included the 1066, 1073, 1081, 1084, and 1072 line amp were built to populate 80-series consoles. They all share the same input and output stages, but differ in terms of equalizer bands having different center frequencies and slopes. The concept was to offer engineers a variety of EQ options while maintaining sonic consistency throughout the desk. In essence, with the exception of the 1072, which was designed for the gain makeup of the summing matrix, they are all essentially the same preamp with different EQs.
Hybrid mixing with the BCM10/2 Mk2-the best of both worlds
If repeatability is an essential part of your workflow due to client change-requests coming days or weeks after a mix is finished, you can still use a stellar-sounding analog desk for summing or stem mixing. Just set your faders at -20dB, send your stems to the console, and do your automation in the DAW. Even if you route to some outboard, it's still much easier to recall a mix than if you did everything in the analog domain-and with a BCM10/2, you get the benefits of all those custom Neve transformers warming and widening your mix.
Another benefit of going through a console is that you don't have to be as careful with your track levels in the DAW. Once you have your sound, red lights be damned (especially with 32-bit floating-point processing). Just make sure you're not losing your tops, watch levels going back into the DAW, and Bob's your uncle.
At the end of the day, it's sound quality, emotion, and human interaction that makes great music-something that crunching numbers in a no-risk environment just can't stand up to. If you want to make records the way records should be made, there's no substitute for a great-sounding console and the ability to mix like you're playing an instrument.
Upgrade Options
AMS Neve BCM 1073N to 1073 Classic Upgrade (Per Channel)
AMS Neve BCM 1073N to 1084 Upgrade (Per Channel)
For more information on the AMS Neve BCM24/2 Mk2, or other Neve consoles that may better suit your needs, call or chat online with your PAD Studio Integrator today.
Options
Connectivity
AMS Neve BCM 24/2 Mk2
Regular price $104,950.00 Save $-104,950.00The AMS Neve BCM24/2 Mk2 is an updated reissue of the rare Neve BCM10/2 broadcast console featuring a choice of 1073N, 1073 Classic, or 1084 Classic preamps, two assignable 2264ALB 500-series compressors, direct channel outputs, four aux sends, 5.1 surround monitoring and more
For industry insiders, the story of the Neve BCM10/2 is a familiar one. What was intended to be a breakthrough broadcast console in 1970 became an affordable (relatively speaking) and/or convenient means of adding 10 channels of Neve 1073 preamps as a sidecar to a main console without having to pop for a full-blown Neve desk and try cramming it into your control room. It wasn't easy or cheap finding a number of Neve 1073 preamps ready for action. Due to their modular nature, they had to be removed from an existing vintage Neve desk (which people prefer to keep intact, rare as they are) and specially racked. Those in the know sought out the old BCM10/2 broadcast consoles, since one in decent condition gave you 10 already-racked 1073 preamps plus 1072 line amps in the summing matrix. Of course, the BCM10/2 was not without limitations for studio work. In short, the 10 input channels were summed to a stereo bus with no direct outputs per channel (unless modified), making it useful as a sub-mixer, but a tad clumsy as a recording desk. But all those vintage Neve 1073s in one package . . . drool . . .
AMS Neve BCM10/2 Mk2 - Just the Facts:
- Class-A topology with Neve-designed custom transformers
- Console sizes: 10,16, 24, or 32 channels
- BCM24/2 Mk 2 Features 24 Channels
- Choice of 1073N, 1073 Classic, and 1084 Classic preamps for channel input
- Classic 1272 summing bus gain makeup
- 2x 500-series slots fitted with Neve 2264ALB compressors, patchable or selectable across the mix bus
- Direct outputs on every channel selectable pre- or post-channel insert
- Simple input to each channel doubles the mix inputs and also allows monitor and cue mixes
- 4x aux sends, 1x stereo cue, 1x main stereo mix bus
- Stereo and 5.1 monitoring with passive 24 position gold plated monitor level control
- 3x stereo and 1x 5.1 selectable loudspeaker output sets
- Comprehensive solo system with destructive and safe/isolate modes
- 2x Stereo reverb returns with width, mono, and balance controls & 2x mono DI to bus inputs
- Main mix output insertion selectable pre-or post-fade with IMR (Insert Mix Return) parallel processing controls
- 25-way D-sub connectivity for easy installation into home or studio environments
-
Optional side car stand on castors
AMS Neve BCM10/2 Mk2 - Beneath the Surface
After decades of requests from audio professionals and witnessing a feeding frenzy in the vintage markets for old BCM10/2s, AMS Neve answered the call with the recording-oriented BCM10/2 Mk2 - and then upped the ante with 16-, 24-, and 32-channel configurations, optional patchbay, mix-bus compression, aux sends, 5.1 monitoring, and more. If you're looking for a no-frills, “just the fact's ma'am” type of console with the world's best-sounding preamps and EQs, this is the desk for you. With 24 channels of 1073N preamps, plus the ability to upgrade to 1073 Classic and 1084 Classic preamp/EQs, the BCM24/2 Mk2 gives you all the analog sound and fury that 1s and 0s just can't compete with.
BCM10/2 Mk2 options
To make the BCM10/2 Mk2 studio friendly or more than just a sidecar, AMS Neve offers a number of options:
- 10, 16, 24 or 32 channel configurations
- Neve 1073N mic preamps fitted as standard, upgrade to 1073 Classic or 1084 Classic on specified channels
- Pair of loudspeaker shelves - mount on top of the console
- Sidecar stand with lockable castors (32-fader stand has fixed feet)
PAD For the Record - The simple truth is that analog consoles can do things that can't be done by mouse or control surface. One such function is riding input faders - the secret to tracking superstar vocals and making a mix percolate with excitement. As any industry pro will tell you, riding faders will always sound better than compression, since there are no artifacts, no raised noise floor, and no loss of transients. Plus, you can anticipate wide dynamic swings where a compressor can only respond after the fact. Yes, it's risky, but that's what separates the pros from the wannabes: rising to the occasion and daring to be great. Another reason to go analog is that pulling back a DAW fader changes the sound, as mixers such as Chris Lord-Alge and Alan Sides will confirm. Lowering volume on a digital fader reduces word-length and subsequently resolution, which changes the makeup of the sound (it gets fuzzy). Whereas in analog, the signal maintains its texture and punch, while the integrity of its wave shape stays intact regardless of level.
PAD Tech Note: Neve 1066, 1073, 1081, and 1084; what's the difference?
In the early seventies, Neve consoles were modular enabling studios to choose their channel count. The 10-series preamp/EQ modules, which included the 1066, 1073, 1081, 1084, and 1072 line amp were built to populate 80-series consoles. They all share the same input and output stages, but differ in terms of equalizer bands having different center frequencies and slopes. The concept was to offer engineers a variety of EQ options while maintaining sonic consistency throughout the desk. In essence, with the exception of the 1072, which was designed for the gain makeup of the summing matrix, they are all essentially the same preamp with different EQs.
Hybrid mixing with the BCM10/2 Mk2 - the best of both worlds
If repeatability is an essential part of your workflow due to client change-requests coming days or weeks after a mix is finished, you can still use a stellar-sounding analog desk for summing or stem mixing. Just set your faders at -20dB, send your stems to the console, and do your automation in the DAW. Even if you route to some outboard, it's still much easier to recall a mix than if you did everything in the analog domain - and with a BCM10/2, you get the benefits of all those custom Neve transformers warming and widening your mix.
Another benefit of going through a console is that you don't have to be as careful with your track levels in the DAW. Once you have your sound, red lights be damned (especially with 32-bit floating-point processing). Just make sure you're not losing your tops, watch levels going back into the DAW, and Bob's your uncle.
At the end of the day, it's sound quality, emotion, and human interaction that makes great music - something that crunching numbers in a no-risk environment just can't stand up to. If you want to make records the way records should be made, there's no substitute for a great-sounding console and the ability to mix like you're playing an instrument.
Upgrade Options
AMS Neve BCM 1073N to 1073 Classic Upgrade (Per Channel)
AMS Neve BCM 1073N to 1084 Upgrade (Per Channel)
For more information on the AMS Neve BCM24/2 Mk2, or other Neve consoles that may better suit your needs, call or chat online with your PAD Studio Integrator today.
Options
Connectivity
AMS Neve BCM 32/2 Mk2
Regular price $132,950.00 Save $-132,950.00The AMS Neve BCM32/2 Mk2 is an updated reissue of the rare Neve BCM10/2 broadcast console featuring a choice of 1073N, 1073 Classic, or 1084 Classic preamps, two assignable 2264ALB 500-series compressors, direct channel outputs, four aux sends, 5.1 surround monitoring and more
For industry insiders, the story of the Neve BCM10/2 is a familiar one. What was intended to be a breakthrough broadcast console in 1970 became an affordable (relatively speaking) and/or convenient means of adding 10 channels of Neve 1073 preamps as a sidecar to a main console without having to pop for a full-blown Neve desk and try cramming it into your control room. It wasn't easy or cheap finding a number of Neve 1073 preamps ready for action. Due to their modular nature, they had to be removed from an existing vintage Neve desk (which people prefer to keep intact, rare as they are) and specially racked. Those in the know sought out the old BCM10/2 broadcast consoles, since one in decent condition gave you 10 already-racked 1073 preamps plus 1072 line amps in the summing matrix. Of course, the BCM10/2 was not without limitations for studio work. In short, the 10 input channels were summed to a stereo bus with no direct outputs per channel (unless modified), making it useful as a sub-mixer, but a tad clumsy as a recording desk. But all those vintage Neve 1073s in one package . . . drool . . .
AMS Neve BCM10/2 Mk2 - Just the Facts:
- Class-A topology with Neve-designed custom transformers
- Console sizes: 10,16, 24, or 32 channels
- BCM32/2 Mk2 features 32 Channels!
- Choice of 1073N, 1073 Classic, and 1084 Classic preamps for channel input
- Classic 1272 summing bus gain makeup
- 2x 500-series slots fitted with Neve 2264ALB compressors, patchable or selectable across the mix bus
- Direct outputs on every channel selectable pre- or post-channel insert
- Simple input to each channel doubles the mix inputs and also allows monitor and cue mixes
- 4x aux sends, 1x stereo cue, 1x main stereo mix bus
- Stereo and 5.1 monitoring with passive 24 position gold plated monitor level control
- 3x stereo and 1x 5.1 selectable loudspeaker output sets
- Comprehensive solo system with destructive and safe/isolate modes
- 2x Stereo reverb returns with width, mono, and balance controls & 2x mono DI to bus inputs
- Main mix output insertion selectable pre-or post-fade with IMR (Insert Mix Return) parallel processing controls
- 25-way D-sub connectivity for easy installation into home or studio environments
-
Optional side car stand on castors
AMS Neve BCM10/2 Mk2 - Beneath the Surface
After decades of requests from audio professionals and witnessing a feeding frenzy in the vintage markets for old BCM10/2s, AMS Neve answered the call with the recording-oriented BCM10/2 Mk2 - and then upped the ante with 16-, 24-, and 32-channel configurations, optional patchbay, mix-bus compression, aux sends, 5.1 monitoring, and more. If you're looking for a no-frills, “just the fact's ma'am” type of console with the world's best-sounding preamps and EQs, this is the desk for you. With 24 channels of 1073N preamps, plus the ability to upgrade to 1073 Classic and 1084 Classic preamp/EQs, the BCM24/2 Mk2 gives you all the analog sound and fury that 1s and 0s just can't compete with.
BCM10/2 Mk2 options
To make the BCM10/2 Mk2 studio friendly or more than just a sidecar, AMS Neve offers a number of options:
- 10, 16, 24 or 32 channel configurations
- Neve 1073N mic preamps fitted as standard, upgrade to 1073 Classic or 1084 Classic on specified channels
- Pair of loudspeaker shelves - mount on top of the console
- Sidecar stand with lockable castors (32-fader stand has fixed feet)
PAD For the Record - The simple truth is that analog consoles can do things that can't be done by mouse or control surface. One such function is riding input faders - the secret to tracking superstar vocals and making a mix percolate with excitement. As any industry pro will tell you, riding faders will always sound better than compression, since there are no artifacts, no raised noise floor, and no loss of transients. Plus, you can anticipate wide dynamic swings where a compressor can only respond after the fact. Yes, it's risky, but that's what separates the pros from the wannabes: rising to the occasion and daring to be great. Another reason to go analog is that pulling back a DAW fader changes the sound, as mixers such as Chris Lord-Alge and Alan Sides will confirm. Lowering volume on a digital fader reduces word-length and subsequently resolution, which changes the makeup of the sound (it gets fuzzy). Whereas in analog, the signal maintains its texture and punch, while the integrity of its wave shape stays intact regardless of level.
PAD Tech Note: Neve 1066, 1073, 1081, and 1084; what's the difference?
In the early seventies, Neve consoles were modular enabling studios to choose their channel count. The 10-series preamp/EQ modules, which included the 1066, 1073, 1081, 1084, and 1072 line amp were built to populate 80-series consoles. They all share the same input and output stages, but differ in terms of equalizer bands having different center frequencies and slopes. The concept was to offer engineers a variety of EQ options while maintaining sonic consistency throughout the desk. In essence, with the exception of the 1072, which was designed for the gain makeup of the summing matrix, they are all essentially the same preamp with different EQs.
Hybrid mixing with the BCM10/2 Mk2 - the best of both worlds
If repeatability is an essential part of your workflow due to client change-requests coming days or weeks after a mix is finished, you can still use a stellar-sounding analog desk for summing or stem mixing. Just set your faders at -20dB, send your stems to the console, and do your automation in the DAW. Even if you route to some outboard, it's still much easier to recall a mix than if you did everything in the analog domain - and with a BCM10/2, you get the benefits of all those custom Neve transformers warming and widening your mix.
Another benefit of going through a console is that you don't have to be as careful with your track levels in the DAW. Once you have your sound, red lights be damned (especially with 32-bit floating-point processing). Just make sure you're not losing your tops, watch levels going back into the DAW, and Bob's your uncle.
At the end of the day, it's sound quality, emotion, and human interaction that makes great music - something that crunching numbers in a no-risk environment just can't stand up to. If you want to make records the way records should be made, there's no substitute for a great-sounding console and the ability to mix like you're playing an instrument.
Upgrade Options
AMS Neve BCM 1073N to 1073 Classic Upgrade (Per Channel)
AMS Neve BCM 1073N to 1084 Upgrade (Per Channel)
For more information on the AMS Neve BCM24/2 Mk2, or other Neve consoles that may better suit your needs, call or chat online with your PAD Studio Integrator today.
Options
Connectivity
AMS Neve BCM 48/2 Mk2
Regular price $203,950.00 Save $-203,950.00The AMS Neve BCM48/2 Mk2 is an updated reissue of the rare Neve BCM10/2 broadcast console.
This magnificent console represents the largest frame size available for the BCM series console, and can be loaded with your choice from the 1073, 1073N or 1084 classic Mic Pre/Equalizers, plus two assignable 2264ALB 500-series compressors, direct channel outputs, four aux sends, 5.1 surround monitoring and more.
For industry insiders, the story of the Neve BCM10/2 is a familiar one. What was intended to be a breakthrough broadcast console in 1970 became an affordable (relatively speaking) and/or convenient means of adding 10 channels of Neve 1073 preamps as a sidecar to a main console without having to pop for a full-blown Neve desk and try cramming it into your control room. It wasn't easy or cheap finding a number of Neve 1073 preamps ready for action. Due to their modular nature, they had to be removed from an existing vintage Neve desk (which people prefer to keep intact, rare as they are) and specially racked. Those in the know sought out the old BCM10/2 broadcast consoles, since one in decent condition gave you 10 already-racked 1073 preamps plus 1072 line amps in the summing matrix. Of course, the BCM10/2 was not without limitations for studio work. In short, the 10 input channels were summed to a stereo bus with no direct outputs per channel (unless modified), making it useful as a sub-mixer, but a tad clumsy as a recording desk. But all those vintage Neve 1073s in one package . . . drool . . .
AMS Neve BCM10/2 Mk2 - Just the Facts:
- Class-A topology with Neve-designed custom transformers
- Console sizes: 10,16, 24, or 32 channels - Now 48 channels!
- BCM48/2 Mk2 features 48 Channels!
- Choice of 1073N, 1073 Classic, and 1084 Classic preamps for channel input
- Classic 1272 summing bus gain makeup
- 2x 500-series slots fitted with Neve 2264ALB compressors, patchable or selectable across the mix bus
- Direct outputs on every channel selectable pre- or post-channel insert
- Simple input to each channel doubles the mix inputs and also allows monitor and cue mixes
- 4x aux sends, 1x stereo cue, 1x main stereo mix bus
- Stereo and 5.1 monitoring with passive 24 position gold plated monitor level control
- 3x stereo and 1x 5.1 selectable loudspeaker output sets
- Comprehensive solo system with destructive and safe/isolate modes
- 2x Stereo reverb returns with width, mono, and balance controls & 2x mono DI to bus inputs
- Main mix output insertion selectable pre-or post-fade with IMR (Insert Mix Return) parallel processing controls
- 25-way D-sub connectivity for easy installation into home or studio environments
-
Fitted Stand
AMS Neve BCM10/2 Mk2 - Beneath the Surface
After decades of requests from audio professionals and witnessing a feeding frenzy in the vintage markets for old BCM10/2s, AMS Neve answered the call with the recording-oriented BCM10/2 Mk2 - and then upped the ante with 16-, 24-, and 32-channel configurations, optional patchbay, mix-bus compression, aux sends, 5.1 monitoring, and more. If you're looking for a no-frills, “just the fact's ma'am” type of console with the world's best-sounding preamps and EQs, this is the desk for you. With 24 channels of 1073N preamps, plus the ability to upgrade to 1073 Classic and 1084 Classic preamp/EQs, the BCM24/2 Mk2 gives you all the analog sound and fury that 1s and 0s just can't compete with.
BCM10/2 Mk2 options
To make the BCM10/2 Mk2 studio friendly or more than just a sidecar, AMS Neve offers a number of options:
- 10, 16, 24, 32 or 48 channel configurations
- Neve 1073N mic preamps fitted as standard, upgrade to 1073 Classic or 1084 Classic on specified channels
- Pair of loudspeaker shelves - mount on top of the console
- Sidecar stand with lockable castors (32-fader stand has fixed feet)
PAD For the Record - The simple truth is that analog consoles can do things that can't be done by mouse or control surface. One such function is riding input faders - the secret to tracking superstar vocals and making a mix percolate with excitement. As any industry pro will tell you, riding faders will always sound better than compression, since there are no artifacts, no raised noise floor, and no loss of transients. Plus, you can anticipate wide dynamic swings where a compressor can only respond after the fact. Yes, it's risky, but that's what separates the pros from the wannabes: rising to the occasion and daring to be great. Another reason to go analog is that pulling back a DAW fader changes the sound, as mixers such as Chris Lord-Alge and Alan Sides will confirm. Lowering volume on a digital fader reduces word-length and subsequently resolution, which changes the makeup of the sound (it gets fuzzy). Whereas in analog, the signal maintains its texture and punch, while the integrity of its wave shape stays intact regardless of level.
PAD Tech Note: Neve 1066, 1073, 1081, and 1084; what's the difference?
In the early seventies, Neve consoles were modular enabling studios to choose their channel count. The 10-series preamp/EQ modules, which included the 1066, 1073, 1081, 1084, and 1072 line amp were built to populate 80-series consoles. They all share the same input and output stages, but differ in terms of equalizer bands having different center frequencies and slopes. The concept was to offer engineers a variety of EQ options while maintaining sonic consistency throughout the desk. In essence, with the exception of the 1072, which was designed for the gain makeup of the summing matrix, they are all essentially the same preamp with different EQs.
Hybrid mixing with the BCM10/2 Mk2 - the best of both worlds
If repeatability is an essential part of your workflow due to client change-requests coming days or weeks after a mix is finished, you can still use a stellar-sounding analog desk for summing or stem mixing. Just set your faders at -20dB, send your stems to the console, and do your automation in the DAW. Even if you route to some outboard, it's still much easier to recall a mix than if you did everything in the analog domain - and with a BCM10/2, you get the benefits of all those custom Neve transformers warming and widening your mix.
Another benefit of going through a console is that you don't have to be as careful with your track levels in the DAW. Once you have your sound, red lights be damned (especially with 32-bit floating-point processing). Just make sure you're not losing your tops, watch levels going back into the DAW, and Bob's your uncle.
At the end of the day, it's sound quality, emotion, and human interaction that makes great music - something that crunching numbers in a no-risk environment just can't stand up to. If you want to make records the way records should be made, there's no substitute for a great-sounding console and the ability to mix like you're playing an instrument.
Upgrade Options
AMS Neve BCM 1073N to 1073 Classic Upgrade (Per Channel)
AMS Neve BCM 1073N to 1084 Upgrade (Per Channel)
For more information on the AMS Neve BCM24/2 Mk2, or other Neve consoles that may better suit your needs, call or chat online with your PAD Studio Integrator today.
Options
Connectivity
AMS Neve DFC PS-1
Regular price $0.00 Save $0.00The AMS Neve DCF PS-1 is a dedicated, mid-level TV dubbing/post-production console that delivers industry-standard Neve sound across 1,000 audio signal paths at 24-bit/96kHz in a single, high-resolution DFC signal-processing tower
So you're not Skywalker Sound, but sonically, you need to compete with the best if you plan to not only keep your position in the industry, but also move upward. So what's an independent, mid-level production house supposed to do? The answer is the AMS Neve DCF PS-1, a 16-fader table-top version of the award-winning, large-format DCF Gemini/3D console that graces the mix rooms of Fox, Warner Bros., and the aforementioned Skywalker Sound. In point of fact, over 70% of feature films are mixed on the DFC3D/Gemini-but we're here to talk about its offspring, the DCF PS-1, which gives you, the independent post-production house, the sonics and power to be competitive with the industry's top TV/Film post-production facilities.
AMS Neve DCF PS-1-Just the Facts:
- 16 motorized faders with four layers and six banks for up to 384 fader paths
- TFT Channel display
- TFT Master display
- Encore:2 automation system (compatible with 1800 AMS Neve consoles)
- Off-line edit options offering enormous cost savings
- More powerful DSP engine-XSP with Mezzanine cards-1,000 paths at 24-bit/96kHz
- Neve EQ, dynamics, and bass enhancement plug-ins with linked dynamics
- Faster control surface
- Expanded 12-stem mixing
- MIOS96 new 96kHz I/O system with full remote control
- Complete integrated machine control
- WavTrak display providing the user with level and dynamics metering, graphical EQ curve and audio waveform information on a path-by-path basis
- Optional Monitor Facilities Rack
AMS Neve DCF PS-1-Beneath the Surface
Control Surface
The DFC PS-1 packs a lot of power in a table-top mixer. With the world's most powerful DSP mix engine, it's capable of delivering the legendary Neve sound across 1000 audio paths 24-bit/96kHz in a single, high-resolution DFC signal-processing tower. On the left side of the console, there are 16 linear motorized faders with a master section on the right. The master section has dual joystick controllers, machine control, PEC/Direct* panel, and surround monitoring panel. There three TFT (thin-film transistor) meter displays, two for channels, one for master.
The channels have four layers and six banks, which means that you can have up to 384 simultaneous fader paths 24 layers deep on one fader, all accessible without having to move from the central operator's position. And that's not including the pre-dub paths, which enables you to control eight tracks or channels from one master fader, which can be assigned and opened across the faders as a pre-dub zone and then hidden once adjustments have been made. This, in concert with the DFC PS-1's DSP power (remember those 1,000 24-bit/96kHz audio paths) enables you to work effectively and efficiently on the largest projects.
To accommodate a large number of inputs within a realistic working footprint, the console surface is semi-assignable with signal paths and functions such as EQ and Dynamics mapped to provide fast and intuitive operation. Any channel strip can control all the resources on a mono, stereo, or up to eight channel inputs.
The control surfaces give instant access to every aspect of routing and monitoring on matter how complex the mix. The channel strip provides total control with the patented touch-sensitive Logicator pots, giving instant visual reference to each knob setting.
* PAD Fun Fact-If you're new to film mixing jargon, you may be wondering what PEC/Direct actually means. It refers to someone who, after staring at your chest, callously tells you that you need to work out more. (Well, that's one meaning, anyway.) In film mixing, the acronym PEC stands for photo-electric cell, which in turn references playback of recorded material versus the direct output of the console before the recorder or dubber. PEC/Direct is a console section, generally outfitted with paddle-shaped switches, not un-coincidentally called, “paddles,” which enables you to instantly check the difference between recorded material and console output, which is very useful where un-automatable outboard is used.
**PAD Fun Fact 2; The Return of PEC-And this time, it's personal. At Pro Audio Design, we never leave an acronym undefined. However, while we explained above what PEC stands for, we didn't tell you why a digital console in the 21st century references a disused technology from the 1940s. Back in the early days of film, when film was recorded on film, a soundtrack was actually a track recorded directly to said photographic film, which at the time, was considered the best medium for image and sound. Sound and visual images were recorded to separate negatives, which were then combined by ordinary photographic printing to become a positive, which then carried both, with the soundtrack running alongside the images. In order to record sound to photographic film, acoustic waves were converted to changes in electric current, which in turn were amplified and used to control the light hitting the photographic film. The light appeared as fine, bright transverse lines of different lengths and thicknesses on part of the film (soundtrack), which was known as a variable density soundtrack. When the variable density sound recording is run past a narrow line from a fixed source, a photo-electric cell (PEC) was used to measure the variations in light and convert them to current changes that are analogous to the original acoustic waves. Those voltages are then amplified and converted to sound via loudspeaker.
It's interesting to note that the film industry not only uses technology that's close to 100 years old, for example, the boom mic, invented by Dorothy Arzner in the late '20s (still in use, and no one has come up with a better solution), it also retains its history. However, while the film industry preserves and learns from its history, that doesn't prevent it from repeating it, or remaking it, if you will-like a recurring nightmare on elm street, but despite that, there is certainly plenty in the Cinematic Universe to Marvel at . . . Uh-oh, looks like we'll have to cut this short, our “spidey sense” is tingling . . . again.
TFT displays-ViewMix and WavTrak
Enhanced visual feedback is provided by ViewMix, high-resolution TFT monitors, allowing you to have a clear visual representation of your mix. The most complex setups are now simple to control. For example, EQ and panning appear as two rows of eight window boxes. Selecting a channel EQ will cause its window to light in green showing it's active. Adjusting the EQ will display the curve in relation to the adjustments. The curve shows blue when out of the circuit, red when activated. Above EQ are the pan windows. If you route the pan control to a particular stem, red speaker icons appear and a red dot indicating the joystick position so that you can see what panning capabilities are available. When you pan the channel the red dot moves showing where the sound is in relation to the speakers in the room.
If you turn on the compressor, you'll see an orange indicator for dynamic. Similarly, switching on aux sends displays a blue light that's color-coded to the button, and also shows which aux channels you're sending to (i.e. aux 1, 3, 4, etc.). A quick glance lets you know which auxiliaries are active for the channel. The TFT screen also displays which stem you have selected for the channel. Like the auxes, a letter for each selected stem will appear in the display.
WavTrak display of audio track data by channel is the most significant innovation of its type since scrolling waveforms, providing the user with level and dynamics metering, graphical EQ curve, and audio waveform information on a path-by-path basis. Any audio entering the channel is captured and displayed against time code.
The master meter allows you to see stem metering, aux metering, and final film outputs. Beneath those meters, you can see what comprises each stem, its routing to monitoring, and which stem is you're auditioning. You can also custom configure the master meter to display the stems and auxiliaries you wish to see. The bottom of the master TFT screen displays in blue which stems are active. Additionally, you can switch the meter display between VU, Peak, and PPM.
Encore:2 automation
Encore:2 is the latest generation of the acclaimed Encore automation, delivering revolutionary new Reconform and Mix Import features, as well as Automation in Stop and Mix Audition. It provides that effortless control of Pro Tools, Nuendo, Pyramix, and Oasis systems, including plug-ins from the console surface via HUI.
Star Command paths
A recent development of Encore:2 is Star Command, which sets control paths for DAWs, including Pro Tools, Nuendo, Pyramix, and Oasis. You can choose how many Star Command paths you want and where you want them to appear on the surface. For example, you may want them to appear on the B layer, C layer, or on a separate bank. Once assigned to the surface, you will see buttons display SC for Star Command as you select them. This enables you to control DAWs such as Pro Tools. Moving an SC-enabled fader will cause the faders in the Pro Tools mix window (or whichever workstation you choose) to move in response and vice versa. Above the faders are cuts and solos, which share the same DAW control and response as the faders.
Automation display
Automation control can be selected between read, write, and isolate. In write mode, an indicator on the automation select button flashes red and turns solid red when automation is being recorded. Plug-ins can be selected and controlled from the console. You can select which plug-in parameters you wish to adjust from the console. The DFC PS-1 can control both native and 3rd-party plug-ins. The TFT display displays the HUI paths, and the metering you see is the DAW metering, e.g. from Pro Tools, as it's sent via HUI protocol.
Displayed beneath the meters, you can see the Pro Tools plug-in setting's numerical information. As you adjust the settings on the console, the TFT displays the numerical change. It also displays the Pro Tools path names. The DFC PS-1 also lets you bank through the DAW channels, 16 at a time, up to 64 channels. Similarly, audio input channels from the DAW can be brought into the DFC and assigned to a separate layer, enabling you to switch between normal audio channels and DAW paths via Star Command.
Encore:2 Automation Reconform delivers efficient workflow as picture re-cuts go up to the last possible moment. Change lists are taken into Encore:2 and the mix automation re-conformed to match the new cut, significantly reducing the workload on the Mixer and allowing the Director freedom to make creative changes right up to the dub.
What the pros are saying about the DFC PS-1
“Even the first time I used the DFC, I rapidly felt at ease with the console, one of the major features being the ergonomics on the control surface.”-Vincent Arnardi, C.A.S. (Amélie)
“The DFC allows us to spend our valuable mix time making good creative decisions and less time on the technicalities of the mixing interface.”-Gary Rizzo, Skywalker Sound
“Working on the DFC console is a completely enjoyable and wonderful experience.”-Andy Nelson, Fox
“There is no need for compromise with the DFC, it does what you want. The EQ and filters are just beautiful and the TFT metering provides that extra dimension.”-Robert Farr (Star Wars Episode III, V For Vendetta)
Thanks to its compact size, ease of use, incredible DSP power, and legendary Neve sound, the DFC PS-1 has become the industry leader in predominantly freelance markets. For more information, call or chat online with your PAD Studio Integrator today.
AMS Neve DFC3D Gemini
Regular price $0.00 Save $0.00The AMS Neve DFC3D, the premier console for feature film mixing, is an upgraded version of the DFC Gemini, purpose-built for mixing in Dolby Atmos and 3D formats, and featuring updated DSP including multiband compression and de-essing, Subharmonic synthesizer and AMS RMX16 reverb with the original algorithms
If you're spec'ing out a new console to compete with Warner Brothers, Goldcrest Films, Fox, Skywalker Sound, or Yash Raj Film, or tired of the dealing with workarounds multi-format film dubbing and post-production, the AMS Neve DFC3D is specifically designed for native mixing in Dolby Atmos, Auro3D, IMAX, and other 3D surround formats. An updated version of the industry-standard DFC Gemini, the DFC3D delivers legendary Neve sound across 1,000 audio paths at 24-bit/96kHz, in a single, high-resolution DFC signal-processing tower. The DFC3D also features updated plug-ins, including multiband compression and de-essing with sidechain access, and Subharmonic synthesizer for bass enhancement. Plus, the DFC3D heralds the return of the legendary AMS RMX16 digital reverb in plug-in form, featuring all the original algorithms. No other digital post-production console can offer the sheer power required to handle the demands of today's content.
AMS Neve DFC3D Gemini-Just the Facts:
- Mix natively in Dolby Atmos and 3D formats
- Multi-format surround panning, with support for greater than 8.1 formats and 3D standards such as Dolby Atmos and Auro-3D
- The DFC's unique ability to mix natively in formats such as 9.1 and 11.1 gives the re-recording mixer a distinct advantage in generating the Bed mix for Dolby Atmos delivery
- New DSP featuring Subharmonic synth and RMX16 reverb original algorithms
- DFC seamlessly generates objects and associated metadata in Dolby Atmos
- TFT Channel display
- TFT Master display
- Sophisticated monitor formatting with insertion of matrix processors
- Encore:3 automation system (compatible with 1,800 AMS Neve consoles)
- Off-line edit options offering enormous cost savings
- Most powerful DSP engine allows 1,000 audio paths at 24-bit/96kHz
- Neve EQ, dynamics, and bass enhancement plug-ins with linked dynamics
- Multi-band compressors and de-essers
- Faster control surface with touch-sensitive automation controls
- Expanded 12-stem mixing
- MIOS96 new I/O system with full remote control
- Intuitive channel strip
- Complete integrated machine control
- Multi-operator capability (up to three)
- WavTrak display providing level and dynamics metering, graphic EQ curve, and audio waveform information on a path-by-path basis
- Shared or discreet auxiliary and recorder busses
- Clear channel parameter and status feedback minimizing interrogation key presses
- The flexibility to fully configure the console is enhanced by the ability to create and modify multiple configurations
- Optional monitor facilities rack
AMS Neve DFC3D Gemini-Beneath the Surface
Native Dolby Atmos Mixing
Dolby Atmos is the latest generation of immersive 3D surround sound, initially geared towards commercial cinema but now adapted for the home. By targeting loudspeakers placed in locations around the listener (including ceiling speakers) a sound can be made to feel as though it is coming from anywhere in the room. It is an adaptable, scalable, object-based format that represents sound as independent audio elements which during playback are accurately positioned in three-dimensional space using the loudspeakers that are available.
AMS Neve worked in consultation with Dolby for several years before the release of Dolby Atmos giving both teams the opportunity to look collaboratively at how content in this object based format could be efficiently created making it viable for the studios to adopt.
The first film natively mixed in the Dolby Atmos format was Oblivion this feat was achieved using an AMS Neve DFC console with both Dolby and AMS Neve engineers present at the studios of Skywalker Sound to offer advice and support to the mixing crew. Until this point, a film would be mixed in a traditional format and later a modified version for Dolby Atmos where a limited number of sounds would be targeted to objects.
Native Auro-3D Mixing
The DFC3D mix engine can mix natively in three-dimensional sound-space with its 16-wide stems and pre-dubs. This allows for effortless creation of content for all Auro-3D formats including popular Auro-3D® 11.1 and Auro-3D 15.1 formats.
DFC control surface
DFC3D features new high-resolution, 3D-enabled metering developed to provide the best possible feedback at a glance, with a unique spatial panner optimized for three-dimensional workflow, providing an efficient mixing experience and a quick transition from conventional mixing techniques. The “camera” angle can be infinitely controlled, and the 3d visualization re-skinned. The metering options can be changed on the fly, and each operator can have a different meter setup so they can be tailored for the department they are working on. This also minimizes distracting and/or unnecessary information from non-relevant meters and objects.
Pop-up plug-in displays can appear when their associated controls are touched, waveform displays are now cached so no prior play pass is needed when reloading a setup, and stem and object routing, status, MADI status, and project settings can all be displayed on the master meters allowing for quick diagnostics.
To accommodate a large number of inputs within a realistic working footprint, the console surface is assignable with signal paths and functions such as EQ and Dynamics mapped to provide fast and intuitive operation. Any channel strip can control all the resources on a mono, stereo or up to sixteen channel inputs.
The control surfaces give instant access to every aspect of routing and monitoring on matter how complex the mix. The channel strip provides total control with the patented touch sensitive Logicator™ pots, giving instant visual reference to each knob setting.
DFC3D now has new integrated DSP plugin processes including a Sub-harmonic Synthesizer, Multi-Band Compressor, and the return of the well-known AMS RMX-16 Reverb. Increased DSP capacity allows for using the new processes in existing mix setups without compromising DSP availability. The plugins were designed to provide as much control as possible using a minimum of physical controls. They are quick to set up and fully automatable, keeping the feel and pace of mixing on a console.
Encore:2 automation
Encore:2 is the latest generation of the acclaimed Encore automation, delivering revolutionary new Reconform and Mix Import features, as well as Automation in Stop and Mix Audition. It provides that effortless control of Pro Tools, Nuendo, Pyramix, and Oasis systems, including plug-ins from the console surface via HUI.
Star Command paths
A recent development of Encore:2 is Star Command, which sets control paths for DAWs, including Pro Tools, Nuendo, Pyramix, and Oasis. You can choose how many Star Command paths you want and where you want them to appear on the surface. For example, you may want them to appear on the B layer, C layer, or on a separate bank. Once assigned to the surface, you will see buttons display SC for Star Command as you select them. This enables you to control DAWs such as Pro Tools. Moving an SC-enabled fader will cause the faders in the Pro Tools mix window (or whichever workstation you choose) to move in response and vice versa. Above the faders are cuts and solos, which share the same DAW control and response as the faders.
Automation display
Automation control can be selected between read, write, and isolate. In write mode, an indicator on the automation select button flashes red and turns solid red when automation is being recorded. Plug-ins can be selected and controlled from the console. You can select which plug-in parameters you wish to adjust from the console. The DFC PS-1 can control both native and 3rd-party plug-ins. The TFT display displays the HUI paths, and the metering you see is the DAW metering, e.g. from Pro Tools, as it's sent via HUI protocol.
Displayed beneath the meters, you can see the Pro Tools plug-in setting's numerical information. As you adjust the settings on the console, the TFT displays the numerical change. It also displays the Pro Tools path names. The DFC PS-1 also lets you bank through the DAW channels, 16 at a time, up to 64 channels. Similarly, audio input channels from the DAW can be brought into the DFC and assigned to a separate layer, enabling you to switch between normal audio channels and DAW paths via Star Command.
Encore:2 Automation Reconform is a highly significant development. It is becoming increasingly common for pictures to be re-cut right up to and beyond the last possible moment. In the past, this became frustrating as mixes had to be rerun from change points. Now change lists can be taken into Encore Plus and the mix automation cut and spliced automatically to reflect picture changes. This significantly reduces the workload on the Mixer as pictures are re-cut as well as allowing greater freedom to the Director who can now continue to make creative changes right up to the dub without disrupting the mixing process.
Automation can now be written whilst the timeline is stationary, automation in stop, with user-defined “automation to” settings. Dynamic automation can also be written at less than play speeds enabling exact settings and movements to be made with pinpoint accuracy. Mix Audition, based on the enhanced system speed, enables near-instant play of numerous versions of a mix. An essential tool for all applications.
AMS Neve DFC full feature list:
USP “SuperSlice” engine:
- The world's most powerful digital audio mixing engine
- Built on six previous generations of AMS Neve's digital audio expertise
- Huge power designed to handle the biggest and most complex mixes of today's and tomorrow's blockbusters
- Configuration flexibility ensures future longevity
- Up to 2,000 signal paths at 48kHz in a single rack
- USP engine can mix at up to 192kHz, 1,000 paths at 96kHz
- Neve EQ, dynamics plug-ins with linked dynamics and sidechain EQ
- Expanded 12-stem mixing
- Everything time-aligned; additional programmable delay per channel
- Up to 36 mono or stereo auxiliary sends
- Up to 136 pre-dub inputs
- Up to 96 record buses (tracks)
- 40-bit floating-point algorithms, much wider dynamic range than 64-bit fixed, or 32-bit floating point
- Legendary Neve sound
- Processing in any order; processing can be inserted anywhere including mix buses
3D and surround formats
- AMS Neve SuperStem™ mixing for best sound in any 3D format
- Native mixing in Dolby Atmos
- The DFC can mix the Dolby Atmos bed in 9.1 or 11.1
- Object designation can dynamically be assigned
- 3-dimension panning from joysticks and channel strips
- Monitor control of all elements of the Atmos workflow
- Complete mix solution for all Auro-3D formats including the popular 9.1 and 11.1 Auro-3D formats
- Ideal way to control Dolby Atmos, Barco Auro-3D, and other emerging formats
- No plug-in required for 3D/surround formats
- Get outside the box and mix the perfect 3D cinema experience
Encore:2 Automation Engine:
- Industry-standard AMS Neve cross-platform automation
- Total Dynamic Automation™
- Offline editing options offer great cost savings
- Encore 2 control engine 40-times faster than Encore 1
- Control of Pro Tools, Nuendo, Pyramix, Oasis, Reaper, and plug-ins via Star Command function
- Reconform delivers efficient workflow as picture recuts go up to the last possible moment
- Change lists imported directly into Encore and mix automation is re-conformed to match the new cut
- Integrates into existing network infrastructure
Monitoring
- 12 stems and 6 multi-track machines
- Each stem can have up to 16 members
- Industry-standard PEC/Direct switching
- Optional Neve Monitor Facilities rack
Control Surface
- One-, two-, and 3-operator configurations from a single mainframe
- “Desk Designer” software enables custom configurations
- Six banks of four layers, effectively 24 layers of surface path assignments
- Industry reference standard channel layout
- Channel strip count up to 128
- Smallest control surface can control the largest mix
- Intuitive, touch-sensitive Logicator™ rotary controls with internal LED status and settings indicators
- Numeric display per control plus TFT graphics
- All variable controls are touch sensitive
- Autoglide matches back to the play pass automatically when released
- To facility scene change, Collect Touch allows selection of a range of controls; automation can be previewed and written in context
- Widescreen TFT overbridge with very wide viewing angle
- ViewMix™ software displays all aspects of your mix, including graphic EQ, dynamics, panning, routing porting, path names, process inputs/outputs on a path-by-path basis
- TFT master display-up to 16 master meters (each up to 8 paths wide), bus matrix, track arm information, and status
- WaveTrak™ display of pre- and post-audio track data channel
- Any channel strip can control mono, stereo, or multi-channel audio
- Modular surface extremely configurable
- Optional 8-band hardware graphic equalizer with moving faders
- Superb ease of use on the most complex mixing challenges
I/O
- Modular I/O System (MIOS) and MIOS Lite deliver definitive Neve-quality audio at 24-bit/96kHz or 48kHz/44.1kHz resolution
- MIOS modules include 8-channel mic/line, 16-channel DAC; 16-channel AES SRC to 192kHZ
- Choice of dual-fiber or dual-co-ax MADI connections
- Four built-in DAC converters in addition to any DAC modules that may be fitted for talkback, foldback, or studio speakers
- Front panel headphone socket that can be switched to monitor any of the rack inputs
- Bi-directional, intelligent integration to confirm which channel on the console each input is connected
- AES960 rack provides the best asynchronous I/O-super low distortion and noise
- QuadMADI 64 multichannel I/O subsystem (Neve defined the MADI specification with BBC and Studer)
- Built-in router
- Fully integrated multi-machine control
The AMS Neve DFC is the gold standard for world-class motion picture facilities including Warner Brothers, Goldcrest Films, Fox, Skywalker Sound, and Yash Raj Film. In fact, over 70% of international blockbusters are mixed on the DFC. For more information, call or chat online with your PAD Studio Integrator.
Specifications
Mic Input Module
Mic Inputs (60dB gain with 150-ohm source impedance
- Frequency response: +0.1/-0.4dB @ 20Hz, +0.1/-0.2dB @20kHz, +0.1/-0.5dB @ 40kHz (96k sampling only)
- Input impedance: >2k ohm
- EIN: >-126dB
- THD+Noise: < 0.008% 20Hz to 1kHz, rising to < 0.03% @ 15kHz
- Crosstalk: < -90dB 20Hz to 1kHz, rising to < -80dB @ 20kHz (measurement is three hostile channels to one quiet)
- CMRR: > 70dB 20Hz to 1kHz, rising to > 60dB @ 20kHz
- Maximum Input: Set with headroom jumpers ( 26dB headroom only maintained for gains of 6dB to 75dB)
Line inputs (0dB gain with 50-ohm source impedance)
- Frequency response: +0.1/-0.2dB 20Hz to 20kHz, +0.1/-0.5dB @ 40kHz
- Input Impedance: >20kOhm
- EIN: >-108dB
- THD+Noise: < 0.003% 20Hz to 1kHz, rising to 0.03% @ 15kHz
- Crosstalk: < -90dB 20Hz to 20kHz (measurement is three hostile channels to one quiet)
- CMRR: > 70dB 20Hz to 20kHz
- Maximum input: 26dBu (set with headroom jumpers)
Line Input Module
Line Inputs (0dB gain with 50 Ohm source impedance)
- Frequency response: +0.1/-0.2dB 20Hz to 20kHz, +0.1/-0.3dB @ 40kHz
- Input impedance: >20k ohm
- Dynamic range: >110dB
- THD + Noise: <0.003 20Hz to 1kHz, rising to 0.006% @ 15kHz
- Crosstalk: < -84dB 20Hz to 20kHz (measurement is 15 hostile channels, one quiet)
- CMRR: > 70dB 20Hz to 20kHz
- Maximum input: 26dBu (set with headroom jumpers)
Line Output Module
Line Outputs (0dB gain into 100kOhm load impedance)
- Frequency response: +0.1/-0.3dB 20Hz to 20kHz, +0.1/-0.8dB @ 40kHz
- Output impedance: 50 ohm
- Dynamic range: >110dB
- THD + Noise: < 0.005% 20Hz to 1kHz, rising to 0.008% @ 15kHz
- Crosstalk: < -90dB 20Hz to 20kHz (measurement is 15 hostile channels, one quiet)
- Maximum output: 26dBu (set with headroom jumpers)
AMS Neve Genesys Black
Regular price $49,950.00 Save $-49,950.00The AMS Neve Genesys Black is a modular digitally controlled analog console with eight channels of Neve 1073 preamps, 16-channel monitoring and dedicated DAW control with touch display-choose configurations up to 48-fader, 96 inputs
Check out the new Genesys Control software, which gives full control and instant reset/recall of all digital functionality of the console.
https://www.proaudiodesign.com/products/genesys-control-software
The Neve Genesys Black is a very versatile digitally controlled analog console that offers the distinct advantages of classic Neve sound with direct DAW control. Plus, instead of setting up a digital mix station perpendicular to your monitors, the Neve Genesys Black enables you to sit centered between your monitors as nature intended. Thanks to a central control screen that sits below the monitors, out of the way of their positive-going acoustic excursions (that's slang for “pushing air”), Genesys Black eliminates unwanted reflections off the computer monitor. But that's not all that's front and center in your control room. The Genesys Black forms a fully integrated centralized bridge for your personal Enterprise, starting with eight channels of classic 1073 mic/line preamps, 16-channels of DAW/tape monitoring, hands-on control for Pro Tools, Nuendo, and other DAWs (Mac/PC), eight channels of digitally controlled 88R-style 4-band EQ, eight channels of VCA dynamics (optional), and channel ADA conversion up to 96kHz over MADI, AES, and FireWire. There are also 24 motorized faders, six aux buses (4 mono, two stereo) eight group buses, two main outputs with faders, four effects returns, comprehensive metering, 5.1 monitoring, two cue mixes, talkback, USB stick storage and reset, plus an internal power supply.
AMS Neve Genesys Black-Just the Facts:
- Eight channels of Neve 1073 mic pre/line amplifiers (base configuration)
- Dedicated DAW control section with touch display
- 16 dedicated DAW control faders with corresponding stereo DAW metering on the meter bridge
- 16-channel DAW monitoring
- Total Reset and Total Recall
- Motorized 8-track and main output faders with DAW control
- Eight channels of Neve 88R-style, 4-band EQ
- Eight channels of A/D/D/A converters
- Six aux send/returns (4 mono and 2 stereo)
- Eight groups, 2 stereo mix busses (Main Mix LR + 2-track)
- Four stereo effects returns with width control
- Channel, DAW, 8-ttrack, 2-track, and monitor metering
- Two stereo monitoring speaker sets
- 1 mixing and 2x 5.1 monitoring speaker sets
- 2 independent cue mixes
- Full talkback and reverse talkback capability
- Internal power supply units
- USB flash drive for store, load, and reset functionality
- Hands-on DAW control for Pro Tools, Logic, Cubase, and more
- AD/DA cassette to provide digital Ins/Outs (16 in, 8 out per card)
- Digitally controlled EQ and optional dynamics (88R or 1084 EQ circuitry and 88R-style Dynamics)
- Optional digital monitoring cassette providing I/O for Aux, 8-track, Main Mix and monitoring
- Expandable to 56 channels, either in straight or wedge formation
AMS Neve Genesys Black-Beneath the Surface
Modular and upgradable
Before the Genesys Black arrived on the scene, analog consoles were commissioned to a fixed channel count. If you wanted to add preamps and faders, you needed to add a sidecar, such as the Neve BCM10/2, which, in the case of the BCM, needed modification and added clutter. Modern control surfaces, since they don't pass audio, can be upgraded easily. However, it's a tricky thing to do with analog desks, but that didn't stop AMS Neve. The Genesys Black is also modular. As your business expands (and it surely will with Neve prominently displayed in your control room) so can your Genesys Black, all the way up to a 48-fader, 96-input big dog. Other options include upgrading to digitally controlled, analog Neve 1084 Classic EQs, VCA-style digital control of analog dynamics, and Neve A/D-D/A converters for the monitoring section.
In its basic configuration, the Genesys Black offers eight channels of 1073 mic/line preamps, 16-channels DAW/Tape monitoring; hands-on DAW control for Pro Tools, Nuendo, and more; eight channels of Neve digitally controlled, 4-band analog EQ; and an option for eight channels of Neve digitally controlled analog VCA dynamics and channel A/D/D/A conversion via MADI, AES, and FireWire formats. The Genesys Black also has a central touchscreen, 6 auxiliary buses, 8 group buses, 2 main outputs, 4 effects returns, comprehensive metering, 5.1 monitoring, 2 cue mixes, talkback and reverse talkback facility, and an integrated footprint with internal power supply.
Customize your workflow
Another advantage Genesys Black offers that is no longer the sole province of control surfaces is the ability to customize the control surface to suit the way you work, or, create custom workflows. Plus, there's that classic Neve look and feel to the controls. But don't let looks deceive you; they're ultra modern too. Every switch is “soft,” which enables benefits beyond merely letting you customize your setup. It also means every routing decision and every switch setting can be saved and instantaneously reset. Add the legendary sounding Neve analog EQ and optional dynamics cassettes and you can instantly recall these settings too. Just think of the reconfiguration time that saves when you're balancing multiple projects in your studio.
Ergonomic control
As mentioned earlier, using a computer keypad and mouse can be clumsy at best with an analog desk. However, the Genesys Black puts keyboard and mouse along with transport controls in a molded armrest in front of the faders. Instead of EQ controls inline on each channel strip, while admittedly eliminating an engineer's customary lower back workout and stretching exercises, EQ and dynamics are controlled by four knobs and two rows of buttons in the center section within easy reach. Not only can you make digital adjustments of analog Neve EQs and dynamics plug-in-style on the control screen, you also have total recall of those settings as well. Not something that you get with a large-format analog desk.
The Genesys Black gives you one-touch access to essential controls, no pounding through menus. Plus, you have fast and easy access to two cue mixes right on the console, so you don't have to futz with two or three different software control screens only to find you may not have enough level available for say a vocalist in the software mixer, or you experience playback distortion when you boost software levels. In such a case, the only option is turning down instrument channels in relation to vocals, which loses the impact of the mix (digital gets fuzzy and loses punch at low volumes, analog doesn't), leaving the vocalist with a less-than-inspiring cue mix.
With the AMS Neve Genesys Black, everything you need for music production sits right in front of you-no machine room necessary, no complicated power-up sequences, and no rear-racks full of spaghetti connecting it all together. Sadly, it won't provide an alternative heat source for your control room in the winter, like the old Focusrite Forte console did at Electric Lady, but on the plus side, your air-conditioning needs and electric bill will decrease significantly. And, since versatility is the name of the game in our industry, the Genesys Black is also eminently suited to post-production, giving you the ability to mix and monitor in 5.1 on two sets of monitors, plus LCR panning, bass management, and fold-down.
A cost-effective analog/digital hybrid solution
For a system roughly equivalent to a Neve Genesys Black, a 24-fader Avid S6 M10, which has no meter displays (apart from the master module) and a rack of eight 1073s would set you back $46,995** for the S6, plus an additional $21,450 for the 1073s. Granted the S6 has much deeper control of Pro Tools, but the Genesys offers all of the functionality of an automated analog desk and more, with control of the most used DAW features, all combined into one central unit, including MADI, AES3, and ADA conversion, and you know, 1073s. If you're working in the box, hit the DAW button on the Genesys and all faders control your DAW, so, even if you're starting out with an 8-channel Genesys Black, you can still have a 24-fader, touch-sensitive control surface-all for $19,195 less than the mid-size control surface and eight channels of classic Neve 1073s, and we haven't even figured in converters or MADI card. Did we mention that the Avid control surface is not upgradeable beyond 24 faders? No?
Be aware that while we're comparing costs, this is not a debate between large-format control surface vs. console and which is better. Each has its advantages depending on the type of work you're doing. If the focus of your work is mixing large projects in Pro Tools ITB, a control surface makes more sense. However, if your work is divided between tracking and mixing, in essence, doing the things consoles evolved over the years to handle efficiently, the Neve Genesys Black is a no-brainer-and as we've pointed out, far more budget-friendly than you would suspect from a piece of kit that proudly bears the name, “Neve.”
That Neve console that features prominently in your fantasies is not as out of reach as you might think. For more information and assistance integrating an AMS Neve Genesys Black into your studio, call or chat online with your PAD Professional today.
Specifications
Record Mode
Mic Input (electronically balanced) to Insert Send
- Headroom: >+27dBu @ 1kHz (<0.5% THD+N)
- Frequency response: Typically +/- 0.05dB, 20Hz to 20kHz
- Distortion (THD+N): Typically 0.002% @ 1kHz (measured at +20dBu 10Hz to 80kHz filter)
- Noise (EIN): <-127.5dBu (20Hz to 22kHz filter, 60dB gain, input terminated 150 ohm R)
Line Input to Insert Send
- Headroom: >+27dBu @ 1kHz (<0.5% THD+N)
- Frequency response: Typically +/- 0.05dB, 20Hz to 20kHz
- Distortion (THD+N): Typically 0.001% @ 1kHz (measured at +20dBu, 10Hz to 80kHz filter)
- Noise: <-92dBu (20Hz to 22kHz filter)
Line Input to Direct Output
- Headroom: >+27dBu @ 1kHz (<0.5% THD+N)
- Frequency response: Typically +/- 0.1dB, 20Hz to 20kHz
- Distortion (THD+N): Typically 0.001% @ 1kHz (measured at +20dBu, 10Hz to 80kHz filter)
- Noise: <-90dBu (20Hz to 22kHz filter)
Mix Mode:
DAW Return Input to Mix Output
- Headroom: >+27dBu @ 1kHz (<0.5% THD+N)
- Frequency response: Typically +/- 0.1dB, 20Hz to 20kHz
- Distortion (THD+N): Typically 0.001% @ 1kHz (measured at +20dBu, 10Hz to 80kHz filter)
Noise
- <-90dBu (20Hz to 20kHz filter, no channel routed)
- <-88dBu (20Hz to 22kHz filter, 1 channel routed)
- <-80dBu (20Hz to 22kHz filter, 16 channels routed)
DAW Return Input to 8T Mix Output
- Headroom: >+27dBu @ 1kHz (<0.5% THD+N)
- Frequency response: Typically +/- 0.15dB, 20Hz to 20kHz
- Distortion (THD+N): Typically 0.003% @ 1kHz (measured at +20dBu, 10Hz to 80kHz filter)Noise
- <-90dBu (20Hz to 22kHz filter, no channel routed)
- <-87dBu (20Hz to 22kHz filter, 1 channel routed)
DAW Return Input to Aux Mix Output
- Headroom: >+27dBu @ 1kHz (<0.5% THD+N)
- Frequency response: Typically +/- 0.12dB, 20Hz to 20kHz
- Distortion (THD+N): Typically 0.002% @ 1kHz (measured at +20dBu, 10Hz to 80kHz filter)
Noise
- <-92dBu (20Hz to 22kHz filter, no channel routed)
- <-88dBu (20Hz to 22kHz filter, 1 channel routed)
General Specifications:
Control Room Output feed from Main Mix
- Headroom: >+26dBu @ 1kHz (<0.5% THD+N)
- Frequency response: Typically +/- 0.15dB, 20Hz to 20kHz
- Distortion (THD+N): Typically 0.002% @ 1kHz (measured at +20dBu, 10Hz to 80kHz filter)
Noise
- <-85dBu (20Hz to 22kHz filter)
Crosstalk
- Inter-channel crosstalk: <100dBu @ 1kHz
- Mix bus crosstalk: <100dBu @ 1kHz
- 8T mix bus crosstalk: <100dBu @ 1kHz
- Aux mix bus crosstalk: <100dBu @ 1kHz
Physical
- Height: 38-3/16" / 970 mm to top of loudspeaker shelf
- Fader height: 28-5/16" / 720 mm
- Height Adjustment: +/-10 mm (3/8")
- Width: 8 channel console: 1409mm / 55.47"
- each 16 channel section: 672mm / 26-3/8"
- Depth: 1004mm / 39-9/16" includes loudspeaker shelf
Weight:
16-channel console and frame: 77 kg / 169.75 lb.
Each 16 channel section and frame: 60 kg / 132.27" lb.
Heat Dissipation
- 8-channel console: < 500 watts
- Each 16 channel section: < 350 watts
- Power Factor: >0.65
Voltage
- Input Voltage Range 90 – 250 volts AC only, auto ranging
Current
- Standard 8-channel: 2.5 to 4 Amps RMS
- each 16 channel section: 1.5 – 3.0 amps RMS
- Switch-on surge: 10 amps for 7ms (average)
AMS Neve Genesys Black 16
Regular price $49,950.00 Save $-49,950.008-channels of digitally controlled analogue 1084 Classic EQ
Total Recall software, Console stand
Check out the new Genesys Control software, which gives full control and instant reset/recall of all digital functionality of the console.
https://www.proaudiodesign.com/products/genesys-control-software
The Neve Genesys Black is a very versatile digitally controlled analog console that offers the distinct advantages of classic Neve sound with direct DAW control. Plus, instead of setting up a digital mix station perpendicular to your monitors, the Neve Genesys Black enables you to sit centered between your monitors as nature intended. Thanks to a central control screen that sits below the monitors, out of the way of their positive-going acoustic excursions (that's slang for “pushing air”), Genesys Black eliminates unwanted reflections off the computer monitor. But that's not all that's front and center in your control room. The Genesys Black forms a fully integrated centralized bridge for your personal Enterprise, starting with eight channels of classic 1073 mic/line preamps, 16-channels of DAW/tape monitoring, hands-on control for Pro Tools, Nuendo, and other DAWs (Mac/PC), eight channels of digitally controlled 88R-style 4-band EQ, eight channels of VCA dynamics (optional), and channel ADA conversion up to 96kHz over MADI, AES, and FireWire. There are also 24 motorized faders, six aux buses (4 mono, two stereo) eight group buses, two main outputs with faders, four effects returns, comprehensive metering, 5.1 monitoring, two cue mixes, talkback, USB stick storage and reset, plus an internal power supply.
AMS Neve Genesys Black - Just the Facts:
- Eight channels of Neve 1073 mic pre/line amplifiers (base configuration)
- Dedicated DAW control section with touch display
- 16 dedicated DAW control faders with corresponding stereo DAW metering on the meter bridge
- 16-channel DAW monitoring
- Total Reset and Total Recall
- Motorized 8-track and main output faders with DAW control
- Eight channels of Neve 88R-style, 4-band EQ
- Eight channels of A/D/D/A converters
- Six aux send/returns (4 mono and 2 stereo)
- Eight groups, 2 stereo mix busses (Main Mix LR + 2-track)
- Four stereo effects returns with width control
- Channel, DAW, 8-ttrack, 2-track, and monitor metering
- Two stereo monitoring speaker sets
- 1 mixing and 2x 5.1 monitoring speaker sets
- 2 independent cue mixes
- Full talkback and reverse talkback capability
- Internal power supply units
- USB flash drive for store, load, and reset functionality
- Hands-on DAW control for Pro Tools, Logic, Cubase, and more
- AD/DA cassette to provide digital Ins/Outs (16 in, 8 out per card)
- Digitally controlled EQ and optional dynamics (88R or 1084 EQ circuitry and 88R-style Dynamics)
- Optional digital monitoring cassette providing I/O for Aux, 8-track, Main Mix and monitoring
- Expandable to 56 channels, either in straight or wedge formation
AMS Neve Genesys Black - Beneath the Surface
Modular and upgradable
Before the Genesys Black arrived on the scene, analog consoles were commissioned to a fixed channel count. If you wanted to add preamps and faders, you needed to add a sidecar, such as the Neve BCM10/2, which, in the case of the BCM, needed modification and added clutter. Modern control surfaces, since they don't pass audio, can be upgraded easily. However, it's a tricky thing to do with analog desks, but that didn't stop AMS Neve. The Genesys Black is also modular. As your business expands (and it surely will with Neve prominently displayed in your control room) so can your Genesys Black, all the way up to a 48-fader, 96-input big dog. Other options include upgrading to digitally controlled, analog Neve 1084 Classic EQs, VCA-style digital control of analog dynamics, and Neve A/D-D/A converters for the monitoring section.
In its basic configuration, the Genesys Black offers eight channels of 1073 mic/line preamps, 16-channels DAW/Tape monitoring; hands-on DAW control for Pro Tools, Nuendo, and more; eight channels of Neve digitally controlled, 4-band analog EQ; and an option for eight channels of Neve digitally controlled analog VCA dynamics and channel A/D/D/A conversion via MADI, AES, and FireWire formats. The Genesys Black also has a central touchscreen, 6 auxiliary buses, 8 group buses, 2 main outputs, 4 effects returns, comprehensive metering, 5.1 monitoring, 2 cue mixes, talkback and reverse talkback facility, and an integrated footprint with internal power supply.
Customize your workflow
Another advantage Genesys Black offers that is no longer the sole province of control surfaces is the ability to customize the control surface to suit the way you work, or, create custom workflows. Plus, there's that classic Neve look and feel to the controls. But don't let looks deceive you; they're ultra modern too. Every switch is “soft,” which enables benefits beyond merely letting you customize your setup. It also means every routing decision and every switch setting can be saved and instantaneously reset. Add the legendary sounding Neve analog EQ and optional dynamics cassettes and you can instantly recall these settings too. Just think of the reconfiguration time that saves when you're balancing multiple projects in your studio.
Ergonomic control
As mentioned earlier, using a computer keypad and mouse can be clumsy at best with an analog desk. However, the Genesys Black puts keyboard and mouse along with transport controls in a molded armrest in front of the faders. Instead of EQ controls inline on each channel strip, while admittedly eliminating an engineer's customary lower back workout and stretching exercises, EQ and dynamics are controlled by four knobs and two rows of buttons in the center section within easy reach. Not only can you make digital adjustments of analog Neve EQs and dynamics plug-in-style on the control screen, you also have total recall of those settings as well. Not something that you get with a large-format analog desk.
The Genesys Black gives you one-touch access to essential controls, no pounding through menus. Plus, you have fast and easy access to two cue mixes right on the console, so you don't have to futz with two or three different software control screens only to find you may not have enough level available for say a vocalist in the software mixer, or you experience playback distortion when you boost software levels. In such a case, the only option is turning down instrument channels in relation to vocals, which loses the impact of the mix (digital gets fuzzy and loses punch at low volumes, analog doesn't), leaving the vocalist with a less-than-inspiring cue mix.
With the AMS Neve Genesys Black, everything you need for music production sits right in front of you - no machine room necessary, no complicated power-up sequences, and no rear-racks full of spaghetti connecting it all together. Sadly, it won't provide an alternative heat source for your control room in the winter, like the old Focusrite Forte console did at Electric Lady, but on the plus side, your air-conditioning needs and electric bill will decrease significantly. And, since versatility is the name of the game in our industry, the Genesys Black is also eminently suited to post-production, giving you the ability to mix and monitor in 5.1 on two sets of monitors, plus LCR panning, bass management, and fold-down.
A cost-effective analog/digital hybrid solution
For a system roughly equivalent to a Neve Genesys Black, a 24-fader Avid S6 M10, which has no meter displays (apart from the master module) and a rack of eight 1073s would set you back $46,995** for the S6, plus an additional $21,450 for the 1073s. Granted the S6 has much deeper control of Pro Tools, but the Genesys offers all of the functionality of an automated analog desk and more, with control of the most used DAW features, all combined into one central unit, including MADI, AES3, and ADA conversion, and you know, 1073s. If you're working in the box, hit the DAW button on the Genesys and all faders control your DAW, so, even if you're starting out with an 8-channel Genesys Black, you can still have a 24-fader, touch-sensitive control surface - all for $19,195 less than the mid-size control surface and eight channels of classic Neve 1073s, and we haven't even figured in converters or MADI card. Did we mention that the Avid control surface is not upgradeable beyond 24 faders? No?
Be aware that while we're comparing costs, this is not a debate between large-format control surface vs. console and which is better. Each has its advantages depending on the type of work you're doing. If the focus of your work is mixing large projects in Pro Tools ITB, a control surface makes more sense. However, if your work is divided between tracking and mixing, in essence, doing the things consoles evolved over the years to handle efficiently, the Neve Genesys Black is a no-brainer - and as we've pointed out, far more budget-friendly than you would suspect from a piece of kit that proudly bears the name, “Neve.”
That Neve console that features prominently in your fantasies is not as out of reach as you might think. For more information and assistance integrating an AMS Neve Genesys Black into your studio, call or chat online with your PAD Professional today.
Specifications
Record Mode
Mic Input (electronically balanced) to Insert Send
- Headroom: >+27dBu @ 1kHz (<0.5% THD+N)
- Frequency response: Typically +/- 0.05dB, 20Hz to 20kHz
- Distortion (THD+N): Typically 0.002% @ 1kHz (measured at +20dBu 10Hz to 80kHz filter)
- Noise (EIN): <-127.5dBu (20Hz to 22kHz filter, 60dB gain, input terminated 150 ohm R)
Line Input to Insert Send
- Headroom: >+27dBu @ 1kHz (<0.5% THD+N)
- Frequency response: Typically +/- 0.05dB, 20Hz to 20kHz
- Distortion (THD+N): Typically 0.001% @ 1kHz (measured at +20dBu, 10Hz to 80kHz filter)
- Noise: <-92dBu (20Hz to 22kHz filter)
Line Input to Direct Output
- Headroom: >+27dBu @ 1kHz (<0.5% THD+N)
- Frequency response: Typically +/- 0.1dB, 20Hz to 20kHz
- Distortion (THD+N): Typically 0.001% @ 1kHz (measured at +20dBu, 10Hz to 80kHz filter)
- Noise: <-90dBu (20Hz to 22kHz filter)
Mix Mode:
DAW Return Input to Mix Output
- Headroom: >+27dBu @ 1kHz (<0.5% THD+N)
- Frequency response: Typically +/- 0.1dB, 20Hz to 20kHz
- Distortion (THD+N): Typically 0.001% @ 1kHz (measured at +20dBu, 10Hz to 80kHz filter)
Noise
- <-90dBu (20Hz to 20kHz filter, no channel routed)
- <-88dBu (20Hz to 22kHz filter, 1 channel routed)
- <-80dBu (20Hz to 22kHz filter, 16 channels routed)
DAW Return Input to 8T Mix Output
- Headroom: >+27dBu @ 1kHz (<0.5% THD+N)
- Frequency response: Typically +/- 0.15dB, 20Hz to 20kHz
- Distortion (THD+N): Typically 0.003% @ 1kHz (measured at +20dBu, 10Hz to 80kHz filter)Noise
- <-90dBu (20Hz to 22kHz filter, no channel routed)
- <-87dBu (20Hz to 22kHz filter, 1 channel routed)
DAW Return Input to Aux Mix Output
- Headroom: >+27dBu @ 1kHz (<0.5% THD+N)
- Frequency response: Typically +/- 0.12dB, 20Hz to 20kHz
- Distortion (THD+N): Typically 0.002% @ 1kHz (measured at +20dBu, 10Hz to 80kHz filter)
Noise
- <-92dBu (20Hz to 22kHz filter, no channel routed)
- <-88dBu (20Hz to 22kHz filter, 1 channel routed)
General Specifications:
Control Room Output feed from Main Mix
- Headroom: >+26dBu @ 1kHz (<0.5% THD+N)
- Frequency response: Typically +/- 0.15dB, 20Hz to 20kHz
- Distortion (THD+N): Typically 0.002% @ 1kHz (measured at +20dBu, 10Hz to 80kHz filter)
Noise
- <-85dBu (20Hz to 22kHz filter)
Crosstalk
- Inter-channel crosstalk: <100dBu @ 1kHz
- Mix bus crosstalk: <100dBu @ 1kHz
- 8T mix bus crosstalk: <100dBu @ 1kHz
- Aux mix bus crosstalk: <100dBu @ 1kHz
Physical
- Height: 38-3/16" / 970 mm to top of loudspeaker shelf
- Fader height: 28-5/16" / 720 mm
- Height Adjustment: +/-10 mm (3/8")
- Width: 8 channel console: 1409mm / 55.47"
- each 16 channel section: 672mm / 26-3/8"
- Depth: 1004mm / 39-9/16" includes loudspeaker shelf
Weight:
16-channel console and frame: 77 kg / 169.75 lb.
Each 16 channel section and frame: 60 kg / 132.27" lb.
Heat Dissipation
- 8-channel console: < 500 watts
- Each 16 channel section: < 350 watts
- Power Factor: >0.65
Voltage
- Input Voltage Range 90 – 250 volts AC only, auto ranging
Current
- Standard 8-channel: 2.5 to 4 Amps RMS
- each 16 channel section: 1.5 – 3.0 amps RMS
- Switch-on surge: 10 amps for 7ms (average)
AMS Neve Genesys Black 32
Regular price $64,950.00 Save $-64,950.0016-channels of digitally controlled analogue 1084 Classic EQ
Total Recall software, Console stand
Check out the new Genesys Control software, which gives full control and instant reset/recall of all digital functionality of the console.
https://www.proaudiodesign.com/products/genesys-control-software
The Neve Genesys Black is a very versatile digitally controlled analog console that offers the distinct advantages of classic Neve sound with direct DAW control. Plus, instead of setting up a digital mix station perpendicular to your monitors, the Neve Genesys Black enables you to sit centered between your monitors as nature intended. Thanks to a central control screen that sits below the monitors, out of the way of their positive-going acoustic excursions (that's slang for “pushing air”), Genesys Black eliminates unwanted reflections off the computer monitor. But that's not all that's front and center in your control room. The Genesys Black forms a fully integrated centralized bridge for your personal Enterprise, starting with eight channels of classic 1073 mic/line preamps, 16-channels of DAW/tape monitoring, hands-on control for Pro Tools, Nuendo, and other DAWs (Mac/PC), eight channels of digitally controlled 88R-style 4-band EQ, eight channels of VCA dynamics (optional), and channel ADA conversion up to 96kHz over MADI, AES, and FireWire. There are also 24 motorized faders, six aux buses (4 mono, two stereo) eight group buses, two main outputs with faders, four effects returns, comprehensive metering, 5.1 monitoring, two cue mixes, talkback, USB stick storage and reset, plus an internal power supply.
AMS Neve Genesys Black - Just the Facts:
- Eight channels of Neve 1073 mic pre/line amplifiers (base configuration)
- Dedicated DAW control section with touch display
- 16 dedicated DAW control faders with corresponding stereo DAW metering on the meter bridge
- 16-channel DAW monitoring
- Total Reset and Total Recall
- Motorized 8-track and main output faders with DAW control
- Eight channels of Neve 88R-style, 4-band EQ
- Eight channels of A/D/D/A converters
- Six aux send/returns (4 mono and 2 stereo)
- Eight groups, 2 stereo mix busses (Main Mix LR + 2-track)
- Four stereo effects returns with width control
- Channel, DAW, 8-ttrack, 2-track, and monitor metering
- Two stereo monitoring speaker sets
- 1 mixing and 2x 5.1 monitoring speaker sets
- 2 independent cue mixes
- Full talkback and reverse talkback capability
- Internal power supply units
- USB flash drive for store, load, and reset functionality
- Hands-on DAW control for Pro Tools, Logic, Cubase, and more
- AD/DA cassette to provide digital Ins/Outs (16 in, 8 out per card)
- Digitally controlled EQ and optional dynamics (88R or 1084 EQ circuitry and 88R-style Dynamics)
- Optional digital monitoring cassette providing I/O for Aux, 8-track, Main Mix and monitoring
- Expandable to 56 channels, either in straight or wedge formation
AMS Neve Genesys Black G32
- 8-channel Neve VCA Dynamics card now included in base console specification
- GenesysControl plugin now included in base console specification
- Price reduction for overall new 'base' console specification
- New G3D Dolby Atmos panning option, with new console hardware/software and ADA16 unit
AMS Neve Genesys Black - Beneath the Surface
Modular and upgradable
Before the Genesys Black arrived on the scene, analog consoles were commissioned to a fixed channel count. If you wanted to add preamps and faders, you needed to add a sidecar, such as the Neve BCM10/2, which, in the case of the BCM, needed modification and added clutter. Modern control surfaces, since they don't pass audio, can be upgraded easily. However, it's a tricky thing to do with analog desks, but that didn't stop AMS Neve. The Genesys Black is also modular. As your business expands (and it surely will with Neve prominently displayed in your control room) so can your Genesys Black, all the way up to a 48-fader, 96-input big dog. Other options include upgrading to digitally controlled, analog Neve 1084 Classic EQs, VCA-style digital control of analog dynamics, and Neve A/D-D/A converters for the monitoring section.
In its basic configuration, the Genesys Black offers eight channels of 1073 mic/line preamps, 16-channels DAW/Tape monitoring; hands-on DAW control for Pro Tools, Nuendo, and more; eight channels of Neve digitally controlled, 4-band analog EQ; and an option for eight channels of Neve digitally controlled analog VCA dynamics and channel A/D/D/A conversion via MADI, AES, and FireWire formats. The Genesys Black also has a central touchscreen, 6 auxiliary buses, 8 group buses, 2 main outputs, 4 effects returns, comprehensive metering, 5.1 monitoring, 2 cue mixes, talkback and reverse talkback facility, and an integrated footprint with internal power supply.
Customize your workflow
Another advantage Genesys Black offers that is no longer the sole province of control surfaces is the ability to customize the control surface to suit the way you work, or, create custom workflows. Plus, there's that classic Neve look and feel to the controls. But don't let looks deceive you; they're ultra modern too. Every switch is “soft,” which enables benefits beyond merely letting you customize your setup. It also means every routing decision and every switch setting can be saved and instantaneously reset. Add the legendary sounding Neve analog EQ and optional dynamics cassettes and you can instantly recall these settings too. Just think of the reconfiguration time that saves when you're balancing multiple projects in your studio.
Ergonomic control
As mentioned earlier, using a computer keypad and mouse can be clumsy at best with an analog desk. However, the Genesys Black puts keyboard and mouse along with transport controls in a molded armrest in front of the faders. Instead of EQ controls inline on each channel strip, while admittedly eliminating an engineer's customary lower back workout and stretching exercises, EQ and dynamics are controlled by four knobs and two rows of buttons in the center section within easy reach. Not only can you make digital adjustments of analog Neve EQs and dynamics plug-in-style on the control screen, you also have total recall of those settings as well. Not something that you get with a large-format analog desk.
The Genesys Black gives you one-touch access to essential controls, no pounding through menus. Plus, you have fast and easy access to two cue mixes right on the console, so you don't have to futz with two or three different software control screens only to find you may not have enough level available for say a vocalist in the software mixer, or you experience playback distortion when you boost software levels. In such a case, the only option is turning down instrument channels in relation to vocals, which loses the impact of the mix (digital gets fuzzy and loses punch at low volumes, analog doesn't), leaving the vocalist with a less-than-inspiring cue mix.
With the AMS Neve Genesys Black, everything you need for music production sits right in front of you - no machine room necessary, no complicated power-up sequences, and no rear-racks full of spaghetti connecting it all together. Sadly, it won't provide an alternative heat source for your control room in the winter, like the old Focusrite Forte console did at Electric Lady, but on the plus side, your air-conditioning needs and electric bill will decrease significantly. And, since versatility is the name of the game in our industry, the Genesys Black is also eminently suited to post-production, giving you the ability to mix and monitor in 5.1 on two sets of monitors, plus LCR panning, bass management, and fold-down.
A cost-effective analog/digital hybrid solution
For a system roughly equivalent to a Neve Genesys Black, a 24-fader Avid S6 M10, which has no meter displays (apart from the master module) and a rack of eight 1073s would set you back $46,995** for the S6, plus an additional $21,450 for the 1073s. Granted the S6 has much deeper control of Pro Tools, but the Genesys offers all of the functionality of an automated analog desk and more, with control of the most used DAW features, all combined into one central unit, including MADI, AES3, and ADA conversion, and you know, 1073s. If you're working in the box, hit the DAW button on the Genesys and all faders control your DAW, so, even if you're starting out with an 8-channel Genesys Black, you can still have a 24-fader, touch-sensitive control surface - all for $19,195 less than the mid-size control surface and eight channels of classic Neve 1073s, and we haven't even figured in converters or MADI card. Did we mention that the Avid control surface is not upgradeable beyond 24 faders? No?
Be aware that while we're comparing costs, this is not a debate between large-format control surface vs. console and which is better. Each has its advantages depending on the type of work you're doing. If the focus of your work is mixing large projects in Pro Tools ITB, a control surface makes more sense. However, if your work is divided between tracking and mixing, in essence, doing the things consoles evolved over the years to handle efficiently, the Neve Genesys Black is a no-brainer - and as we've pointed out, far more budget-friendly than you would suspect from a piece of kit that proudly bears the name, “Neve.”
That Neve console that features prominently in your fantasies is not as out of reach as you might think. For more information and assistance integrating an AMS Neve Genesys Black into your studio, call or chat online with your PAD Professional today.
Specifications
Record Mode
Mic Input (electronically balanced) to Insert Send
- Headroom: >+27dBu @ 1kHz (<0.5% THD+N)
- Frequency response: Typically +/- 0.05dB, 20Hz to 20kHz
- Distortion (THD+N): Typically 0.002% @ 1kHz (measured at +20dBu 10Hz to 80kHz filter)
- Noise (EIN): <-127.5dBu (20Hz to 22kHz filter, 60dB gain, input terminated 150 ohm R)
Line Input to Insert Send
- Headroom: >+27dBu @ 1kHz (<0.5% THD+N)
- Frequency response: Typically +/- 0.05dB, 20Hz to 20kHz
- Distortion (THD+N): Typically 0.001% @ 1kHz (measured at +20dBu, 10Hz to 80kHz filter)
- Noise: <-92dBu (20Hz to 22kHz filter)
Line Input to Direct Output
- Headroom: >+27dBu @ 1kHz (<0.5% THD+N)
- Frequency response: Typically +/- 0.1dB, 20Hz to 20kHz
- Distortion (THD+N): Typically 0.001% @ 1kHz (measured at +20dBu, 10Hz to 80kHz filter)
- Noise: <-90dBu (20Hz to 22kHz filter)
Mix Mode:
DAW Return Input to Mix Output
- Headroom: >+27dBu @ 1kHz (<0.5% THD+N)
- Frequency response: Typically +/- 0.1dB, 20Hz to 20kHz
- Distortion (THD+N): Typically 0.001% @ 1kHz (measured at +20dBu, 10Hz to 80kHz filter)
Noise
- <-90dBu (20Hz to 20kHz filter, no channel routed)
- <-88dBu (20Hz to 22kHz filter, 1 channel routed)
- <-80dBu (20Hz to 22kHz filter, 16 channels routed)
DAW Return Input to 8T Mix Output
- Headroom: >+27dBu @ 1kHz (<0.5% THD+N)
- Frequency response: Typically +/- 0.15dB, 20Hz to 20kHz
- Distortion (THD+N): Typically 0.003% @ 1kHz (measured at +20dBu, 10Hz to 80kHz filter)Noise
- <-90dBu (20Hz to 22kHz filter, no channel routed)
- <-87dBu (20Hz to 22kHz filter, 1 channel routed)
DAW Return Input to Aux Mix Output
- Headroom: >+27dBu @ 1kHz (<0.5% THD+N)
- Frequency response: Typically +/- 0.12dB, 20Hz to 20kHz
- Distortion (THD+N): Typically 0.002% @ 1kHz (measured at +20dBu, 10Hz to 80kHz filter)
Noise
- <-92dBu (20Hz to 22kHz filter, no channel routed)
- <-88dBu (20Hz to 22kHz filter, 1 channel routed)
General Specifications:
Control Room Output feed from Main Mix
- Headroom: >+26dBu @ 1kHz (<0.5% THD+N)
- Frequency response: Typically +/- 0.15dB, 20Hz to 20kHz
- Distortion (THD+N): Typically 0.002% @ 1kHz (measured at +20dBu, 10Hz to 80kHz filter)
Noise
- <-85dBu (20Hz to 22kHz filter)
Crosstalk
- Inter-channel crosstalk: <100dBu @ 1kHz
- Mix bus crosstalk: <100dBu @ 1kHz
- 8T mix bus crosstalk: <100dBu @ 1kHz
- Aux mix bus crosstalk: <100dBu @ 1kHz
Physical
- Height: 38-3/16" / 970 mm to top of loudspeaker shelf
- Fader height: 28-5/16" / 720 mm
- Height Adjustment: +/-10 mm (3/8")
- Width: 8 channel console: 1409mm / 55.47"
- each 16 channel section: 672mm / 26-3/8"
- Depth: 1004mm / 39-9/16" includes loudspeaker shelf
Weight:
16-channel console and frame: 77 kg / 169.75 lb.
Each 16 channel section and frame: 60 kg / 132.27" lb.
Heat Dissipation
- 8-channel console: < 500 watts
- Each 16 channel section: < 350 watts
- Power Factor: >0.65
Voltage
- Input Voltage Range 90 – 250 volts AC only, auto ranging
Current
- Standard 8-channel: 2.5 to 4 Amps RMS
- each 16 channel section: 1.5 – 3.0 amps RMS
- Switch-on surge: 10 amps for 7ms (average)
AMS Neve Genesys Black 48
Regular price $89,950.00 Save $-89,950.0024-channels of digitally controlled analogue 1084 Classic EQ
Total Recall software, Console stand
Check out the new Genesys Control software, which gives full control and instant reset/recall of all digital functionality of the console.
https://www.proaudiodesign.com/products/genesys-control-software
The Neve Genesys Black is a very versatile digitally controlled analog console that offers the distinct advantages of classic Neve sound with direct DAW control. Plus, instead of setting up a digital mix station perpendicular to your monitors, the Neve Genesys Black enables you to sit centered between your monitors as nature intended. Thanks to a central control screen that sits below the monitors, out of the way of their positive-going acoustic excursions (that's slang for “pushing air”), Genesys Black eliminates unwanted reflections off the computer monitor. But that's not all that's front and center in your control room. The Genesys Black forms a fully integrated centralized bridge for your personal Enterprise, starting with eight channels of classic 1073 mic/line preamps, 16-channels of DAW/tape monitoring, hands-on control for Pro Tools, Nuendo, and other DAWs (Mac/PC), eight channels of digitally controlled 88R-style 4-band EQ, eight channels of VCA dynamics (optional), and channel ADA conversion up to 96kHz over MADI, AES, and FireWire. There are also 24 motorized faders, six aux buses (4 mono, two stereo) eight group buses, two main outputs with faders, four effects returns, comprehensive metering, 5.1 monitoring, two cue mixes, talkback, USB stick storage and reset, plus an internal power supply.
AMS Neve Genesys Black - Just the Facts:
- Eight channels of Neve 1073 mic pre/line amplifiers (base configuration)
- Dedicated DAW control section with touch display
- 16 dedicated DAW control faders with corresponding stereo DAW metering on the meter bridge
- 16-channel DAW monitoring
- Total Reset and Total Recall
- Motorized 8-track and main output faders with DAW control
- Eight channels of Neve 88R-style, 4-band EQ
- Eight channels of A/D/D/A converters
- Six aux send/returns (4 mono and 2 stereo)
- Eight groups, 2 stereo mix busses (Main Mix LR + 2-track)
- Four stereo effects returns with width control
- Channel, DAW, 8-ttrack, 2-track, and monitor metering
- Two stereo monitoring speaker sets
- 1 mixing and 2x 5.1 monitoring speaker sets
- 2 independent cue mixes
- Full talkback and reverse talkback capability
- Internal power supply units
- USB flash drive for store, load, and reset functionality
- Hands-on DAW control for Pro Tools, Logic, Cubase, and more
- AD/DA cassette to provide digital Ins/Outs (16 in, 8 out per card)
- Digitally controlled EQ and optional dynamics (88R or 1084 EQ circuitry and 88R-style Dynamics)
- Optional digital monitoring cassette providing I/O for Aux, 8-track, Main Mix and monitoring
- Expandable to 56 channels, either in straight or wedge formation
AMS Neve Genesys Black - Beneath the Surface
Modular and upgradable
Before the Genesys Black arrived on the scene, analog consoles were commissioned to a fixed channel count. If you wanted to add preamps and faders, you needed to add a sidecar, such as the Neve BCM10/2, which, in the case of the BCM, needed modification and added clutter. Modern control surfaces, since they don't pass audio, can be upgraded easily. However, it's a tricky thing to do with analog desks, but that didn't stop AMS Neve. The Genesys Black is also modular. As your business expands (and it surely will with Neve prominently displayed in your control room) so can your Genesys Black, all the way up to a 48-fader, 96-input big dog. Other options include upgrading to digitally controlled, analog Neve 1084 Classic EQs, VCA-style digital control of analog dynamics, and Neve A/D-D/A converters for the monitoring section.
In its basic configuration, the Genesys Black offers eight channels of 1073 mic/line preamps, 16-channels DAW/Tape monitoring; hands-on DAW control for Pro Tools, Nuendo, and more; eight channels of Neve digitally controlled, 4-band analog EQ; and an option for eight channels of Neve digitally controlled analog VCA dynamics and channel A/D/D/A conversion via MADI, AES, and FireWire formats. The Genesys Black also has a central touchscreen, 6 auxiliary buses, 8 group buses, 2 main outputs, 4 effects returns, comprehensive metering, 5.1 monitoring, 2 cue mixes, talkback and reverse talkback facility, and an integrated footprint with internal power supply.
Customize your workflow
Another advantage Genesys Black offers that is no longer the sole province of control surfaces is the ability to customize the control surface to suit the way you work, or, create custom workflows. Plus, there's that classic Neve look and feel to the controls. But don't let looks deceive you; they're ultra modern too. Every switch is “soft,” which enables benefits beyond merely letting you customize your setup. It also means every routing decision and every switch setting can be saved and instantaneously reset. Add the legendary sounding Neve analog EQ and optional dynamics cassettes and you can instantly recall these settings too. Just think of the reconfiguration time that saves when you're balancing multiple projects in your studio.
Ergonomic control
As mentioned earlier, using a computer keypad and mouse can be clumsy at best with an analog desk. However, the Genesys Black puts keyboard and mouse along with transport controls in a molded armrest in front of the faders. Instead of EQ controls inline on each channel strip, while admittedly eliminating an engineer's customary lower back workout and stretching exercises, EQ and dynamics are controlled by four knobs and two rows of buttons in the center section within easy reach. Not only can you make digital adjustments of analog Neve EQs and dynamics plug-in-style on the control screen, you also have total recall of those settings as well. Not something that you get with a large-format analog desk.
The Genesys Black gives you one-touch access to essential controls, no pounding through menus. Plus, you have fast and easy access to two cue mixes right on the console, so you don't have to futz with two or three different software control screens only to find you may not have enough level available for say a vocalist in the software mixer, or you experience playback distortion when you boost software levels. In such a case, the only option is turning down instrument channels in relation to vocals, which loses the impact of the mix (digital gets fuzzy and loses punch at low volumes, analog doesn't), leaving the vocalist with a less-than-inspiring cue mix.
With the AMS Neve Genesys Black, everything you need for music production sits right in front of you - no machine room necessary, no complicated power-up sequences, and no rear-racks full of spaghetti connecting it all together. Sadly, it won't provide an alternative heat source for your control room in the winter, like the old Focusrite Forte console did at Electric Lady, but on the plus side, your air-conditioning needs and electric bill will decrease significantly. And, since versatility is the name of the game in our industry, the Genesys Black is also eminently suited to post-production, giving you the ability to mix and monitor in 5.1 on two sets of monitors, plus LCR panning, bass management, and fold-down.
A cost-effective analog/digital hybrid solution
For a system roughly equivalent to a Neve Genesys Black, a 24-fader Avid S6 M10, which has no meter displays (apart from the master module) and a rack of eight 1073s would set you back $46,995** for the S6, plus an additional $21,450 for the 1073s. Granted the S6 has much deeper control of Pro Tools, but the Genesys offers all of the functionality of an automated analog desk and more, with control of the most used DAW features, all combined into one central unit, including MADI, AES3, and ADA conversion, and you know, 1073s. If you're working in the box, hit the DAW button on the Genesys and all faders control your DAW, so, even if you're starting out with an 8-channel Genesys Black, you can still have a 24-fader, touch-sensitive control surface - all for $19,195 less than the mid-size control surface and eight channels of classic Neve 1073s, and we haven't even figured in converters or MADI card. Did we mention that the Avid control surface is not upgradeable beyond 24 faders? No?
Be aware that while we're comparing costs, this is not a debate between large-format control surface vs. console and which is better. Each has its advantages depending on the type of work you're doing. If the focus of your work is mixing large projects in Pro Tools ITB, a control surface makes more sense. However, if your work is divided between tracking and mixing, in essence, doing the things consoles evolved over the years to handle efficiently, the Neve Genesys Black is a no-brainer - and as we've pointed out, far more budget-friendly than you would suspect from a piece of kit that proudly bears the name, “Neve.”
That Neve console that features prominently in your fantasies is not as out of reach as you might think. For more information and assistance integrating an AMS Neve Genesys Black into your studio, call or chat online with your PAD Professional today.
Specifications
Record Mode
Mic Input (electronically balanced) to Insert Send
- Headroom: >+27dBu @ 1kHz (<0.5% THD+N)
- Frequency response: Typically +/- 0.05dB, 20Hz to 20kHz
- Distortion (THD+N): Typically 0.002% @ 1kHz (measured at +20dBu 10Hz to 80kHz filter)
- Noise (EIN): <-127.5dBu (20Hz to 22kHz filter, 60dB gain, input terminated 150 ohm R)
Line Input to Insert Send
- Headroom: >+27dBu @ 1kHz (<0.5% THD+N)
- Frequency response: Typically +/- 0.05dB, 20Hz to 20kHz
- Distortion (THD+N): Typically 0.001% @ 1kHz (measured at +20dBu, 10Hz to 80kHz filter)
- Noise: <-92dBu (20Hz to 22kHz filter)
Line Input to Direct Output
- Headroom: >+27dBu @ 1kHz (<0.5% THD+N)
- Frequency response: Typically +/- 0.1dB, 20Hz to 20kHz
- Distortion (THD+N): Typically 0.001% @ 1kHz (measured at +20dBu, 10Hz to 80kHz filter)
- Noise: <-90dBu (20Hz to 22kHz filter)
Mix Mode:
DAW Return Input to Mix Output
- Headroom: >+27dBu @ 1kHz (<0.5% THD+N)
- Frequency response: Typically +/- 0.1dB, 20Hz to 20kHz
- Distortion (THD+N): Typically 0.001% @ 1kHz (measured at +20dBu, 10Hz to 80kHz filter)
Noise
- <-90dBu (20Hz to 20kHz filter, no channel routed)
- <-88dBu (20Hz to 22kHz filter, 1 channel routed)
- <-80dBu (20Hz to 22kHz filter, 16 channels routed)
DAW Return Input to 8T Mix Output
- Headroom: >+27dBu @ 1kHz (<0.5% THD+N)
- Frequency response: Typically +/- 0.15dB, 20Hz to 20kHz
- Distortion (THD+N): Typically 0.003% @ 1kHz (measured at +20dBu, 10Hz to 80kHz filter)Noise
- <-90dBu (20Hz to 22kHz filter, no channel routed)
- <-87dBu (20Hz to 22kHz filter, 1 channel routed)
DAW Return Input to Aux Mix Output
- Headroom: >+27dBu @ 1kHz (<0.5% THD+N)
- Frequency response: Typically +/- 0.12dB, 20Hz to 20kHz
- Distortion (THD+N): Typically 0.002% @ 1kHz (measured at +20dBu, 10Hz to 80kHz filter)
Noise
- <-92dBu (20Hz to 22kHz filter, no channel routed)
- <-88dBu (20Hz to 22kHz filter, 1 channel routed)
General Specifications:
Control Room Output feed from Main Mix
- Headroom: >+26dBu @ 1kHz (<0.5% THD+N)
- Frequency response: Typically +/- 0.15dB, 20Hz to 20kHz
- Distortion (THD+N): Typically 0.002% @ 1kHz (measured at +20dBu, 10Hz to 80kHz filter)
Noise
- <-85dBu (20Hz to 22kHz filter)
Crosstalk
- Inter-channel crosstalk: <100dBu @ 1kHz
- Mix bus crosstalk: <100dBu @ 1kHz
- 8T mix bus crosstalk: <100dBu @ 1kHz
- Aux mix bus crosstalk: <100dBu @ 1kHz
Physical
- Height: 38-3/16" / 970 mm to top of loudspeaker shelf
- Fader height: 28-5/16" / 720 mm
- Height Adjustment: +/-10 mm (3/8")
- Width: 8 channel console: 1409mm / 55.47"
- each 16 channel section: 672mm / 26-3/8"
- Depth: 1004mm / 39-9/16" includes loudspeaker shelf
Weight:
16-channel console and frame: 77 kg / 169.75 lb.
Each 16 channel section and frame: 60 kg / 132.27" lb.
Heat Dissipation
- 8-channel console: < 500 watts
- Each 16 channel section: < 350 watts
- Power Factor: >0.65
Voltage
- Input Voltage Range 90 – 250 volts AC only, auto ranging
Current
- Standard 8-channel: 2.5 to 4 Amps RMS
- each 16 channel section: 1.5 – 3.0 amps RMS
- Switch-on surge: 10 amps for 7ms (average)
AMS Neve Genesys Black 64
Regular price $110,950.00 Save $-110,950.0032-channels of digitally controlled analogue 1084 Classic EQ
Total Recall software, Console stand
Check out the new Genesys Control software, which gives full control and instant reset/recall of all digital functionality of the console.
https://www.proaudiodesign.com/products/genesys-control-software
The Neve Genesys Black is a very versatile digitally controlled analog console that offers the distinct advantages of classic Neve sound with direct DAW control. Plus, instead of setting up a digital mix station perpendicular to your monitors, the Neve Genesys Black enables you to sit centered between your monitors as nature intended. Thanks to a central control screen that sits below the monitors, out of the way of their positive-going acoustic excursions (that's slang for “pushing air”), Genesys Black eliminates unwanted reflections off the computer monitor. But that's not all that's front and center in your control room. The Genesys Black forms a fully integrated centralized bridge for your personal Enterprise, starting with eight channels of classic 1073 mic/line preamps, 16-channels of DAW/tape monitoring, hands-on control for Pro Tools, Nuendo, and other DAWs (Mac/PC), eight channels of digitally controlled 88R-style 4-band EQ, eight channels of VCA dynamics (optional), and channel ADA conversion up to 96kHz over MADI, AES, and FireWire. There are also 24 motorized faders, six aux buses (4 mono, two stereo) eight group buses, two main outputs with faders, four effects returns, comprehensive metering, 5.1 monitoring, two cue mixes, talkback, USB stick storage and reset, plus an internal power supply.
AMS Neve Genesys Black - Just the Facts:
- Eight channels of Neve 1073 mic pre/line amplifiers (base configuration)
- Dedicated DAW control section with touch display
- 16 dedicated DAW control faders with corresponding stereo DAW metering on the meter bridge
- 16-channel DAW monitoring
- Total Reset and Total Recall
- Motorized 8-track and main output faders with DAW control
- Eight channels of Neve 88R-style, 4-band EQ
- Eight channels of A/D/D/A converters
- Six aux send/returns (4 mono and 2 stereo)
- Eight groups, 2 stereo mix busses (Main Mix LR + 2-track)
- Four stereo effects returns with width control
- Channel, DAW, 8-ttrack, 2-track, and monitor metering
- Two stereo monitoring speaker sets
- 1 mixing and 2x 5.1 monitoring speaker sets
- 2 independent cue mixes
- Full talkback and reverse talkback capability
- Internal power supply units
- USB flash drive for store, load, and reset functionality
- Hands-on DAW control for Pro Tools, Logic, Cubase, and more
- AD/DA cassette to provide digital Ins/Outs (16 in, 8 out per card)
- Digitally controlled EQ and optional dynamics (88R or 1084 EQ circuitry and 88R-style Dynamics)
- Optional digital monitoring cassette providing I/O for Aux, 8-track, Main Mix and monitoring
- Expandable to 56 channels, either in straight or wedge formation
AMS Neve Genesys Black - Beneath the Surface
Modular and upgradable
Before the Genesys Black arrived on the scene, analog consoles were commissioned to a fixed channel count. If you wanted to add preamps and faders, you needed to add a sidecar, such as the Neve BCM10/2, which, in the case of the BCM, needed modification and added clutter. Modern control surfaces, since they don't pass audio, can be upgraded easily. However, it's a tricky thing to do with analog desks, but that didn't stop AMS Neve. The Genesys Black is also modular. As your business expands (and it surely will with Neve prominently displayed in your control room) so can your Genesys Black, all the way up to a 48-fader, 96-input big dog. Other options include upgrading to digitally controlled, analog Neve 1084 Classic EQs, VCA-style digital control of analog dynamics, and Neve A/D-D/A converters for the monitoring section.
In its basic configuration, the Genesys Black offers eight channels of 1073 mic/line preamps, 16-channels DAW/Tape monitoring; hands-on DAW control for Pro Tools, Nuendo, and more; eight channels of Neve digitally controlled, 4-band analog EQ; and an option for eight channels of Neve digitally controlled analog VCA dynamics and channel A/D/D/A conversion via MADI, AES, and FireWire formats. The Genesys Black also has a central touchscreen, 6 auxiliary buses, 8 group buses, 2 main outputs, 4 effects returns, comprehensive metering, 5.1 monitoring, 2 cue mixes, talkback and reverse talkback facility, and an integrated footprint with internal power supply.
Customize your workflow
Another advantage Genesys Black offers that is no longer the sole province of control surfaces is the ability to customize the control surface to suit the way you work, or, create custom workflows. Plus, there's that classic Neve look and feel to the controls. But don't let looks deceive you; they're ultra modern too. Every switch is “soft,” which enables benefits beyond merely letting you customize your setup. It also means every routing decision and every switch setting can be saved and instantaneously reset. Add the legendary sounding Neve analog EQ and optional dynamics cassettes and you can instantly recall these settings too. Just think of the reconfiguration time that saves when you're balancing multiple projects in your studio.
Ergonomic control
As mentioned earlier, using a computer keypad and mouse can be clumsy at best with an analog desk. However, the Genesys Black puts keyboard and mouse along with transport controls in a molded armrest in front of the faders. Instead of EQ controls inline on each channel strip, while admittedly eliminating an engineer's customary lower back workout and stretching exercises, EQ and dynamics are controlled by four knobs and two rows of buttons in the center section within easy reach. Not only can you make digital adjustments of analog Neve EQs and dynamics plug-in-style on the control screen, you also have total recall of those settings as well. Not something that you get with a large-format analog desk.
The Genesys Black gives you one-touch access to essential controls, no pounding through menus. Plus, you have fast and easy access to two cue mixes right on the console, so you don't have to futz with two or three different software control screens only to find you may not have enough level available for say a vocalist in the software mixer, or you experience playback distortion when you boost software levels. In such a case, the only option is turning down instrument channels in relation to vocals, which loses the impact of the mix (digital gets fuzzy and loses punch at low volumes, analog doesn't), leaving the vocalist with a less-than-inspiring cue mix.
With the AMS Neve Genesys Black, everything you need for music production sits right in front of you - no machine room necessary, no complicated power-up sequences, and no rear-racks full of spaghetti connecting it all together. Sadly, it won't provide an alternative heat source for your control room in the winter, like the old Focusrite Forte console did at Electric Lady, but on the plus side, your air-conditioning needs and electric bill will decrease significantly. And, since versatility is the name of the game in our industry, the Genesys Black is also eminently suited to post-production, giving you the ability to mix and monitor in 5.1 on two sets of monitors, plus LCR panning, bass management, and fold-down.
A cost-effective analog/digital hybrid solution
For a system roughly equivalent to a Neve Genesys Black, a 24-fader Avid S6 M10, which has no meter displays (apart from the master module) and a rack of eight 1073s would set you back $46,995** for the S6, plus an additional $21,450 for the 1073s. Granted the S6 has much deeper control of Pro Tools, but the Genesys offers all of the functionality of an automated analog desk and more, with control of the most used DAW features, all combined into one central unit, including MADI, AES3, and ADA conversion, and you know, 1073s. If you're working in the box, hit the DAW button on the Genesys and all faders control your DAW, so, even if you're starting out with an 8-channel Genesys Black, you can still have a 24-fader, touch-sensitive control surface - all for $19,195 less than the mid-size control surface and eight channels of classic Neve 1073s, and we haven't even figured in converters or MADI card. Did we mention that the Avid control surface is not upgradeable beyond 24 faders? No?
Be aware that while we're comparing costs, this is not a debate between large-format control surface vs. console and which is better. Each has its advantages depending on the type of work you're doing. If the focus of your work is mixing large projects in Pro Tools ITB, a control surface makes more sense. However, if your work is divided between tracking and mixing, in essence, doing the things consoles evolved over the years to handle efficiently, the Neve Genesys Black is a no-brainer - and as we've pointed out, far more budget-friendly than you would suspect from a piece of kit that proudly bears the name, “Neve.”
That Neve console that features prominently in your fantasies is not as out of reach as you might think. For more information and assistance integrating an AMS Neve Genesys Black into your studio, call or chat online with your PAD Professional today.
Specifications
Record Mode
Mic Input (electronically balanced) to Insert Send
- Headroom: >+27dBu @ 1kHz (<0.5% THD+N)
- Frequency response: Typically +/- 0.05dB, 20Hz to 20kHz
- Distortion (THD+N): Typically 0.002% @ 1kHz (measured at +20dBu 10Hz to 80kHz filter)
- Noise (EIN): <-127.5dBu (20Hz to 22kHz filter, 60dB gain, input terminated 150 ohm R)
Line Input to Insert Send
- Headroom: >+27dBu @ 1kHz (<0.5% THD+N)
- Frequency response: Typically +/- 0.05dB, 20Hz to 20kHz
- Distortion (THD+N): Typically 0.001% @ 1kHz (measured at +20dBu, 10Hz to 80kHz filter)
- Noise: <-92dBu (20Hz to 22kHz filter)
Line Input to Direct Output
- Headroom: >+27dBu @ 1kHz (<0.5% THD+N)
- Frequency response: Typically +/- 0.1dB, 20Hz to 20kHz
- Distortion (THD+N): Typically 0.001% @ 1kHz (measured at +20dBu, 10Hz to 80kHz filter)
- Noise: <-90dBu (20Hz to 22kHz filter)
Mix Mode:
DAW Return Input to Mix Output
- Headroom: >+27dBu @ 1kHz (<0.5% THD+N)
- Frequency response: Typically +/- 0.1dB, 20Hz to 20kHz
- Distortion (THD+N): Typically 0.001% @ 1kHz (measured at +20dBu, 10Hz to 80kHz filter)
Noise
- <-90dBu (20Hz to 20kHz filter, no channel routed)
- <-88dBu (20Hz to 22kHz filter, 1 channel routed)
- <-80dBu (20Hz to 22kHz filter, 16 channels routed)
DAW Return Input to 8T Mix Output
- Headroom: >+27dBu @ 1kHz (<0.5% THD+N)
- Frequency response: Typically +/- 0.15dB, 20Hz to 20kHz
- Distortion (THD+N): Typically 0.003% @ 1kHz (measured at +20dBu, 10Hz to 80kHz filter)Noise
- <-90dBu (20Hz to 22kHz filter, no channel routed)
- <-87dBu (20Hz to 22kHz filter, 1 channel routed)
DAW Return Input to Aux Mix Output
- Headroom: >+27dBu @ 1kHz (<0.5% THD+N)
- Frequency response: Typically +/- 0.12dB, 20Hz to 20kHz
- Distortion (THD+N): Typically 0.002% @ 1kHz (measured at +20dBu, 10Hz to 80kHz filter)
Noise
- <-92dBu (20Hz to 22kHz filter, no channel routed)
- <-88dBu (20Hz to 22kHz filter, 1 channel routed)
General Specifications:
Control Room Output feed from Main Mix
- Headroom: >+26dBu @ 1kHz (<0.5% THD+N)
- Frequency response: Typically +/- 0.15dB, 20Hz to 20kHz
- Distortion (THD+N): Typically 0.002% @ 1kHz (measured at +20dBu, 10Hz to 80kHz filter)
Noise
- <-85dBu (20Hz to 22kHz filter)
Crosstalk
- Inter-channel crosstalk: <100dBu @ 1kHz
- Mix bus crosstalk: <100dBu @ 1kHz
- 8T mix bus crosstalk: <100dBu @ 1kHz
- Aux mix bus crosstalk: <100dBu @ 1kHz
Physical
- Height: 38-3/16" / 970 mm to top of loudspeaker shelf
- Fader height: 28-5/16" / 720 mm
- Height Adjustment: +/-10 mm (3/8")
- Width: 8 channel console: 1409mm / 55.47"
- each 16 channel section: 672mm / 26-3/8"
- Depth: 1004mm / 39-9/16" includes loudspeaker shelf
Weight:
16-channel console and frame: 77 kg / 169.75 lb.
Each 16 channel section and frame: 60 kg / 132.27" lb.
Heat Dissipation
- 8-channel console: < 500 watts
- Each 16 channel section: < 350 watts
- Power Factor: >0.65
Voltage
- Input Voltage Range 90 – 250 volts AC only, auto ranging
Current
- Standard 8-channel: 2.5 to 4 Amps RMS
- each 16 channel section: 1.5 – 3.0 amps RMS
- Switch-on surge: 10 amps for 7ms (average)
AMS Neve Genesys Black 96
Regular price $127,950.00 Save $-127,950.0048-channels of digitally controlled analogue 1084 Classic EQ
Total Recall software, Console stand
Check out the new Genesys Control software, which gives full control and instant reset/recall of all digital functionality of the console.
https://www.proaudiodesign.com/products/genesys-control-software
The Neve Genesys Black is a very versatile digitally controlled analog console that offers the distinct advantages of classic Neve sound with direct DAW control. Plus, instead of setting up a digital mix station perpendicular to your monitors, the Neve Genesys Black enables you to sit centered between your monitors as nature intended. Thanks to a central control screen that sits below the monitors, out of the way of their positive-going acoustic excursions (that's slang for “pushing air”), Genesys Black eliminates unwanted reflections off the computer monitor. But that's not all that's front and center in your control room. The Genesys Black forms a fully integrated centralized bridge for your personal Enterprise, starting with eight channels of classic 1073 mic/line preamps, 16-channels of DAW/tape monitoring, hands-on control for Pro Tools, Nuendo, and other DAWs (Mac/PC), eight channels of digitally controlled 88R-style 4-band EQ, eight channels of VCA dynamics (optional), and channel ADA conversion up to 96kHz over MADI, AES, and FireWire. There are also 24 motorized faders, six aux buses (4 mono, two stereo) eight group buses, two main outputs with faders, four effects returns, comprehensive metering, 5.1 monitoring, two cue mixes, talkback, USB stick storage and reset, plus an internal power supply.
AMS Neve Genesys Black - Just the Facts:
- Eight channels of Neve 1073 mic pre/line amplifiers (base configuration)
- Dedicated DAW control section with touch display
- 16 dedicated DAW control faders with corresponding stereo DAW metering on the meter bridge
- 16-channel DAW monitoring
- Total Reset and Total Recall
- Motorized 8-track and main output faders with DAW control
- Eight channels of Neve 88R-style, 4-band EQ
- Eight channels of A/D/D/A converters
- Six aux send/returns (4 mono and 2 stereo)
- Eight groups, 2 stereo mix busses (Main Mix LR + 2-track)
- Four stereo effects returns with width control
- Channel, DAW, 8-ttrack, 2-track, and monitor metering
- Two stereo monitoring speaker sets
- 1 mixing and 2x 5.1 monitoring speaker sets
- 2 independent cue mixes
- Full talkback and reverse talkback capability
- Internal power supply units
- USB flash drive for store, load, and reset functionality
- Hands-on DAW control for Pro Tools, Logic, Cubase, and more
- AD/DA cassette to provide digital Ins/Outs (16 in, 8 out per card)
- Digitally controlled EQ and optional dynamics (88R or 1084 EQ circuitry and 88R-style Dynamics)
- Optional digital monitoring cassette providing I/O for Aux, 8-track, Main Mix and monitoring
- Expandable to 56 channels, either in straight or wedge formation
AMS Neve Genesys Black - Beneath the Surface
Modular and upgradable
Before the Genesys Black arrived on the scene, analog consoles were commissioned to a fixed channel count. If you wanted to add preamps and faders, you needed to add a sidecar, such as the Neve BCM10/2, which, in the case of the BCM, needed modification and added clutter. Modern control surfaces, since they don't pass audio, can be upgraded easily. However, it's a tricky thing to do with analog desks, but that didn't stop AMS Neve. The Genesys Black is also modular. As your business expands (and it surely will with Neve prominently displayed in your control room) so can your Genesys Black, all the way up to a 48-fader, 96-input big dog. Other options include upgrading to digitally controlled, analog Neve 1084 Classic EQs, VCA-style digital control of analog dynamics, and Neve A/D-D/A converters for the monitoring section.
In its basic configuration, the Genesys Black offers eight channels of 1073 mic/line preamps, 16-channels DAW/Tape monitoring; hands-on DAW control for Pro Tools, Nuendo, and more; eight channels of Neve digitally controlled, 4-band analog EQ; and an option for eight channels of Neve digitally controlled analog VCA dynamics and channel A/D/D/A conversion via MADI, AES, and FireWire formats. The Genesys Black also has a central touchscreen, 6 auxiliary buses, 8 group buses, 2 main outputs, 4 effects returns, comprehensive metering, 5.1 monitoring, 2 cue mixes, talkback and reverse talkback facility, and an integrated footprint with internal power supply.
Customize your workflow
Another advantage Genesys Black offers that is no longer the sole province of control surfaces is the ability to customize the control surface to suit the way you work, or, create custom workflows. Plus, there's that classic Neve look and feel to the controls. But don't let looks deceive you; they're ultra modern too. Every switch is “soft,” which enables benefits beyond merely letting you customize your setup. It also means every routing decision and every switch setting can be saved and instantaneously reset. Add the legendary sounding Neve analog EQ and optional dynamics cassettes and you can instantly recall these settings too. Just think of the reconfiguration time that saves when you're balancing multiple projects in your studio.
Ergonomic control
As mentioned earlier, using a computer keypad and mouse can be clumsy at best with an analog desk. However, the Genesys Black puts keyboard and mouse along with transport controls in a molded armrest in front of the faders. Instead of EQ controls inline on each channel strip, while admittedly eliminating an engineer's customary lower back workout and stretching exercises, EQ and dynamics are controlled by four knobs and two rows of buttons in the center section within easy reach. Not only can you make digital adjustments of analog Neve EQs and dynamics plug-in-style on the control screen, you also have total recall of those settings as well. Not something that you get with a large-format analog desk.
The Genesys Black gives you one-touch access to essential controls, no pounding through menus. Plus, you have fast and easy access to two cue mixes right on the console, so you don't have to futz with two or three different software control screens only to find you may not have enough level available for say a vocalist in the software mixer, or you experience playback distortion when you boost software levels. In such a case, the only option is turning down instrument channels in relation to vocals, which loses the impact of the mix (digital gets fuzzy and loses punch at low volumes, analog doesn't), leaving the vocalist with a less-than-inspiring cue mix.
With the AMS Neve Genesys Black, everything you need for music production sits right in front of you - no machine room necessary, no complicated power-up sequences, and no rear-racks full of spaghetti connecting it all together. Sadly, it won't provide an alternative heat source for your control room in the winter, like the old Focusrite Forte console did at Electric Lady, but on the plus side, your air-conditioning needs and electric bill will decrease significantly. And, since versatility is the name of the game in our industry, the Genesys Black is also eminently suited to post-production, giving you the ability to mix and monitor in 5.1 on two sets of monitors, plus LCR panning, bass management, and fold-down.
A cost-effective analog/digital hybrid solution
For a system roughly equivalent to a Neve Genesys Black, a 24-fader Avid S6 M10, which has no meter displays (apart from the master module) and a rack of eight 1073s would set you back $46,995** for the S6, plus an additional $21,450 for the 1073s. Granted the S6 has much deeper control of Pro Tools, but the Genesys offers all of the functionality of an automated analog desk and more, with control of the most used DAW features, all combined into one central unit, including MADI, AES3, and ADA conversion, and you know, 1073s. If you're working in the box, hit the DAW button on the Genesys and all faders control your DAW, so, even if you're starting out with an 8-channel Genesys Black, you can still have a 24-fader, touch-sensitive control surface - all for $19,195 less than the mid-size control surface and eight channels of classic Neve 1073s, and we haven't even figured in converters or MADI card. Did we mention that the Avid control surface is not upgradeable beyond 24 faders? No?
Be aware that while we're comparing costs, this is not a debate between large-format control surface vs. console and which is better. Each has its advantages depending on the type of work you're doing. If the focus of your work is mixing large projects in Pro Tools ITB, a control surface makes more sense. However, if your work is divided between tracking and mixing, in essence, doing the things consoles evolved over the years to handle efficiently, the Neve Genesys Black is a no-brainer - and as we've pointed out, far more budget-friendly than you would suspect from a piece of kit that proudly bears the name, “Neve.”
That Neve console that features prominently in your fantasies is not as out of reach as you might think. For more information and assistance integrating an AMS Neve Genesys Black into your studio, call or chat online with your PAD Professional today.
Specifications
Record Mode
Mic Input (electronically balanced) to Insert Send
- Headroom: >+27dBu @ 1kHz (<0.5% THD+N)
- Frequency response: Typically +/- 0.05dB, 20Hz to 20kHz
- Distortion (THD+N): Typically 0.002% @ 1kHz (measured at +20dBu 10Hz to 80kHz filter)
- Noise (EIN): <-127.5dBu (20Hz to 22kHz filter, 60dB gain, input terminated 150 ohm R)
Line Input to Insert Send
- Headroom: >+27dBu @ 1kHz (<0.5% THD+N)
- Frequency response: Typically +/- 0.05dB, 20Hz to 20kHz
- Distortion (THD+N): Typically 0.001% @ 1kHz (measured at +20dBu, 10Hz to 80kHz filter)
- Noise: <-92dBu (20Hz to 22kHz filter)
Line Input to Direct Output
- Headroom: >+27dBu @ 1kHz (<0.5% THD+N)
- Frequency response: Typically +/- 0.1dB, 20Hz to 20kHz
- Distortion (THD+N): Typically 0.001% @ 1kHz (measured at +20dBu, 10Hz to 80kHz filter)
- Noise: <-90dBu (20Hz to 22kHz filter)
Mix Mode:
DAW Return Input to Mix Output
- Headroom: >+27dBu @ 1kHz (<0.5% THD+N)
- Frequency response: Typically +/- 0.1dB, 20Hz to 20kHz
- Distortion (THD+N): Typically 0.001% @ 1kHz (measured at +20dBu, 10Hz to 80kHz filter)
Noise
- <-90dBu (20Hz to 20kHz filter, no channel routed)
- <-88dBu (20Hz to 22kHz filter, 1 channel routed)
- <-80dBu (20Hz to 22kHz filter, 16 channels routed)
DAW Return Input to 8T Mix Output
- Headroom: >+27dBu @ 1kHz (<0.5% THD+N)
- Frequency response: Typically +/- 0.15dB, 20Hz to 20kHz
- Distortion (THD+N): Typically 0.003% @ 1kHz (measured at +20dBu, 10Hz to 80kHz filter)Noise
- <-90dBu (20Hz to 22kHz filter, no channel routed)
- <-87dBu (20Hz to 22kHz filter, 1 channel routed)
DAW Return Input to Aux Mix Output
- Headroom: >+27dBu @ 1kHz (<0.5% THD+N)
- Frequency response: Typically +/- 0.12dB, 20Hz to 20kHz
- Distortion (THD+N): Typically 0.002% @ 1kHz (measured at +20dBu, 10Hz to 80kHz filter)
Noise
- <-92dBu (20Hz to 22kHz filter, no channel routed)
- <-88dBu (20Hz to 22kHz filter, 1 channel routed)
General Specifications:
Control Room Output feed from Main Mix
- Headroom: >+26dBu @ 1kHz (<0.5% THD+N)
- Frequency response: Typically +/- 0.15dB, 20Hz to 20kHz
- Distortion (THD+N): Typically 0.002% @ 1kHz (measured at +20dBu, 10Hz to 80kHz filter)
Noise
- <-85dBu (20Hz to 22kHz filter)
Crosstalk
- Inter-channel crosstalk: <100dBu @ 1kHz
- Mix bus crosstalk: <100dBu @ 1kHz
- 8T mix bus crosstalk: <100dBu @ 1kHz
- Aux mix bus crosstalk: <100dBu @ 1kHz
Physical
- Height: 38-3/16" / 970 mm to top of loudspeaker shelf
- Fader height: 28-5/16" / 720 mm
- Height Adjustment: +/-10 mm (3/8")
- Width: 8 channel console: 1409mm / 55.47"
- each 16 channel section: 672mm / 26-3/8"
- Depth: 1004mm / 39-9/16" includes loudspeaker shelf
Weight:
16-channel console and frame: 77 kg / 169.75 lb.
Each 16 channel section and frame: 60 kg / 132.27" lb.
Heat Dissipation
- 8-channel console: < 500 watts
- Each 16 channel section: < 350 watts
- Power Factor: >0.65
Voltage
- Input Voltage Range 90 – 250 volts AC only, auto ranging
Current
- Standard 8-channel: 2.5 to 4 Amps RMS
- each 16 channel section: 1.5 – 3.0 amps RMS
- Switch-on surge: 10 amps for 7ms (average)
AMS Neve Genesys G128
Regular price $139,950.00 Save $-139,950.00The AMS Neve Genesys G128 is a hybrid analog/digital console that combines modular upgradeability with 64 channels of Neve 1073 mic pre/line amplifiers, 16-channel DAW monitoring, total reset and total recall, motorized faders, Encore automation, remote preamp control and much more-G128 basic 64-channel, 128-input console
Check out the new Genesys Control software, which gives full control and instant reset/recall of all digital functionality of the console.
https://www.proaudiodesign.com/products/genesys-control-software
Preceding the Genesys Black, but still in production, the AMS Neve Genesys was Neve's first answer to the multi-level convenience of digital technology as well as it's primary deficiency, which is the obvious lack of Neve's analog sound and full midrange. In creating the Genesys, Neve engineers were truly up against some serious hurdles. Control surfaces offer the advantage of modularity, which enables you to build the console as your business needs dictate. However, since the real world is analog, you need to create a hybrid system of analog I/O and digital control. It's not unusual to see a digital workstation perpendicular to a large analog desk at one end, which means the monitor is firing into one ear. Along with taking up studio real estate, a hybrid system also requires a lot of complicated wiring and interface issues. In a nutshell, the prime directive for AMS Neve engineers was to create a console that combined the advantages of digital control and automation, modular upgradability, and of course, classic Neve analog sound-but also to make owning a Neve console a realistic prospect for smaller studios without compromising on sound quality. Or, in other words, the AMS Neve Genesys.
AMS Neve Genesys G128-Just the Facts:
- 64 channels of Neve 1073 mic pre/line amplifiers
- 64-channel DAW monitoring
- Total Reset and Total Recall
- Motorized faders with Encore Automation
- Remote mic amp control
- 6 aux sends (4 mono and 2 stereo)
- 8 groups
- 2 main outs
- 4 effects returns
- 64ch, 8t, 2t and monitor metering
- 1 mixing and monitoring
- 2 cue mixes
- Full talkback capability
- Internal PSU
- USB stick store, load & reset
- Hands-on DAW control for Pro Tools, etc.
AMS Neve Genesys G128-Beneath the Surface
Genesys, hand-built in AMS Neve's UK factory, combines superb analog design and true Neve preamp circuitry with hands-on DAW control and connectivity for Pro Tools, etc. In its basic 16-fader configuration you get 16 channels of 1073 mic/line preamps, 16 channels of DAW mixing, 32-channel analog summing at mixdown, eight auxiliary buses, eight group buses, and 5.1 monitoring.
Modular and upgradable
Before the Genesys arrived on the scene, analog consoles were commissioned to a fixed channel count. If you wanted to add preamps and faders, you needed to add a sidecar, such as the Neve BCM10/2, which, in the case of the BCM, needed modification and added clutter. Modern control surfaces, since they don't pass audio, can be upgraded easily. However, it's a tricky thing to do with analog desks, but that didn't stop AMS Neve. The Genesys is also modular. As your business expands (and it surely will with Neve prominently displayed in your control room) so can your Genesys, all the way up to a 64-fader, 128-input big dog. Other options include upgrading to digitally controlled, analog Neve 1084 Classic EQs or 88R-style 4-band EQS, VCA-style digital control of analog dynamics, and Neve A/D-D/A converters for the monitoring section.
Customize your workflow
Another advantage Genesys offers that is no longer the sole province of control surfaces is the ability to customize the control surface to suit the way you work, or, create custom workflows. Plus, there's that classic Neve look and feel to the controls. But don't let looks deceive you; they're ultra modern too. Every switch is “soft,” which enables benefits beyond merely letting you customize your setup. It also means every routing decision and every switch setting can be saved and instantaneously reset. Add the legendary sounding Neve analog EQ and optional dynamics cassettes and you can instantly recall these settings too. Just think of the reconfiguration time that saves when you're balancing multiple projects in your studio.
What the pros are saying about the Neve Genesys
“I took a song I mixed on a different console, and I did a quick mix of it on the Genesys . . . I felt, apart from the time-consuming details, I had sonically beaten the other mix in almost a matter of minutes. The Genesys had what I was really hoping for, which is the stereo bus of the 88R from an audio standpoint it sounds the same to me. It sounded so much better than the console I'd originally mixed that song on.” John O'Mahony-Grammy-nominated mixer and producer)
“It's been an absolute pleasure using our 24-channel Genesys over the past year, both in terms of sonics, workflow via the DAW & taking advantage of the large format console options. Producers & engineers who come through 80 HERTZ comment on just how easy it is to integrate their computers with the console-without fuss! AMS Neve customer support is second to none of course, and we enjoy working with their R&D team, developing exciting new features based around our modern hybrid (analog and digital) work flows.”- George Atkins, Grammy-nominated mixer and producer
“In my mind, the name Neve has always been synonymous with ‘musical.' Before mixing in the box was even feasible, a console was the center of every mix and a Neve console was always my favorite.”-Russ Long, producer-engineer
It would be easy to call the AMS Neve Genesys a best-of-both-worlds solution, but in point of fact, it's a best of worlds as yet undiscovered. When you're ready to outfit you're A-room with the impressive G128, call or chat online with your PAD Studio Integrator today.
Specifications
Record Mode
Mic Input (Electronically Balanced) to Insert Send
- Headroom: >+27dBu @ 1kHz (<0.5% THD+N)
- Frequency response: Typically +/- 0.05dB, 20Hz to 20kHz
- Distortion (THD+N): Typically 0.002% @ 1kHz (measured at +20dBu 10Hz to 80kHz filter)
- Noise (EIN): <-127.5dBu (20Hz to 22kHz filter, 60dB gain, input terminated 150 ohm R)
Line Input to Insert Send
- Headroom: >+27dBu @ 1kHz (<0.5% THD+N)
- Frequency response: Typically +/- 0.05dB, 20Hz to 20kHz
- Distortion (THD+N): Typically 0.001% @ 1kHz (measured at +20dBu, 10Hz to 80kHz filter)
- Noise: <-92dBu (20Hz to 22kHz filter)
Line Input to Direct Output
- Headroom: >+27dBu @ 1kHz (<0.5% THD+N)
- Frequency response: Typically +/- 0.1dB, 20Hz to 20kHz
- Distortion (THD+N): Typically 0.001% @ 1kHz (measured at +20dBu, 10Hz to 80kHz filter)
- Noise: <-90dBu (20Hz to 22kHz filter)
Mix Mode
DAW Return Input to Mix Output
- Headroom: >+27dBu @ 1kHz (<0.5% THD+N)
- Frequency response: Typically +/- 0.1dB, 20Hz to 20kHz
- Distortion (THD+N): Typically 0.001% @ 1kHz (measured at +20dBu, 10Hz to 80kHz filter)
Noise
- <-90dBu (20Hz to 20kHz filter, no channel routed)
- <-88dBu (20Hz to 22kHz filter, 1 channel routed)
- <-80dBu (20Hz to 22kHz filter, 16 channel routed)
DAW Return Input to 8T Mix Output
- Headroom: >+27dBu @ 1kHz (<0.5% THD+N)
- Frequency response: Typically +/- 0.15dB, 20Hz to 20kHz
- Distortion (THD+N): Typically 0.003% @ 1kHz (measured at +20dBu, 10Hz to 80kHz filter)
- Noise: <-90dBu (20Hz to 22kHz filter, no channel routed); <-87dBu (20Hz to 22kHz filter, 1 channel routed)
DAW Return Input to Aux Mix Output
- Headroom: >+27dBu @ 1kHz (<0.5% THD+N)
- Frequency response: Typically +/- 0.12dB, 20Hz to 20kHz
- Distortion (THD+N): Typically 0.002% @ 1kHz (measured at +20dBu, 10Hz to 80kHz filter)
- Noise: <-92dBu (20Hz to 22kHz filter, no channel routed); <-88dBu (20Hz to 22kHz filter, 1 channel routed)
General Specifications
Control Room Output feed from Main Mix
- Headroom: >+26dBu @ 1kHz (<0.5% THD+N)
- Frequency response: Typically +/- 0.15dB, 20Hz to 20kHz
- Distortion (THD+N): Typically 0.002% @ 1kHz (measured at +20dBu, 10Hz to 80kHz filter)
- Noise: <-85dBu (20Hz to 22kHz filter)
Crosstalk
- Inter-channel crosstalk: <100dBu @ 1kHz
- Mix bus crosstalk: <100dBu @ 1kHz
- 8T Mix bus crosstalk: <100dBu @ 1kHz
- Aux Mix bus crosstalk: <100dBu @ 1kHz
Heat dissipation
- 16-channel console: < 500 watts
- Each 16-channel section: < 350 watts
- 64-channel console: 1550
- Power factor: >0.65
Voltage
- Input voltage range: 90 – 250 volts AC only, auto ranging
Current
- Standard 16 channel: 2.5 to 4 Amps RMS
- Each 16 channel section: 1.5 – 3.0 Amps RMS
- Switch-on surge: 10 amps for 7ms (average)
Physical
- Height: 38-3/16" / 970 mm to top of loudspeaker shelf
- Fader height: 28-5/16" / 720 mm
- Height Adjustment: 3/8" / +/-10 mm
- Width (64-fader console): 122-1/16" / 3100.5 mm
- Each 16 channel section: 26-3/8" / 672 mm
- Depth: 35-13/16" / 910.5 mm (includes loudspeaker shelf)
- Weight 64-fader console and frame: 565.58 lb. / 257 kg
- Each 16 channel section and frame: 132.27 lb. / 60 kg
AMS Neve Genesys G32
Regular price $45,950.00 Save $-45,950.00The AMS Neve Genesys G32 is a hybrid analog/digital console that combines modular upgradeability with 16 channels of Neve 1073 mic pre/line amplifiers, 16-channel DAW monitoring, total reset and total recall, motorized faders, Encore automation, remote preamp control and much more-G32 basic 16-channel, 32-input console
Check out the new Genesys Control software, which gives full control and instant reset/recall of all digital functionality of the console.
https://www.proaudiodesign.com/products/genesys-control-software
Preceding the Genesys Black, but still in production, the AMS Neve Genesys was Neve's first answer to the multi-level convenience of digital technology as well as it's primary deficiency, which is the obvious lack of Neve's analog sound and full midrange. In creating the Genesys, Neve engineers were truly up against some serious hurdles. Control surfaces offer the advantage of modularity, which enables you to build the console as your business needs dictate. However, since the real world is analog, you need to create a hybrid system of analog I/O and digital control. It's not unusual to see a digital workstation perpendicular to a large analog desk at one end, which means the monitor is firing into one ear. Along with taking up studio real estate, a hybrid system also requires a lot of complicated wiring and interface issues. In a nutshell, the prime directive for AMS Neve engineers was to create a console that combined the advantages of digital control and automation, modular upgradability, and of course, classic Neve analog sound-but also to make owning a Neve console a realistic prospect for smaller studios without compromising on sound quality. Or, in other words, the AMS Neve Genesys.
AMS Neve Genesys G32-Just the Facts:
- 16 channels of Neve 1073 mic pre/line amplifiers
- 16 channel DAW monitoring
- Total Reset and Total Recall
- Motorized faders with Encore Automation
- Remote mic amp control
- 6 aux sends (4 mono and 2 stereo)
- 8 groups
- 2 main outs
- 4 effects returns
- 16ch, 8t, 2t and monitor metering
- 1 mixing and monitoring
- 2 cue mixes
- Full talkback capability
- Internal PSU
- USB stick store, load & reset
- Hands-on DAW control for Pro Tools, etc.
AMS Neve Genesys G32-Beneath the Surface
Genesys, hand-built in AMS Neve's UK factory, combines superb analog design and true Neve preamp circuitry with hands-on DAW control and connectivity for Pro Tools, etc. In its basic 16-fader configuration you get 16 channels of 1073 mic/line preamps, 16 channels of DAW mixing, 32-channel analog summing at mixdown, eight auxiliary buses, eight group buses, and 5.1 monitoring.
Modular and upgradable
Before the Genesys arrived on the scene, analog consoles were commissioned to a fixed channel count. If you wanted to add preamps and faders, you needed to add a sidecar, such as the Neve BCM10/2, which, in the case of the BCM, needed modification and added clutter. Modern control surfaces, since they don't pass audio, can be upgraded easily. However, it's a tricky thing to do with analog desks, but that didn't stop AMS Neve. The Genesys is also modular. As your business expands (and it surely will with Neve prominently displayed in your control room) so can your Genesys, all the way up to a 64-fader, 128-input big dog. Other options include upgrading to digitally controlled, analog Neve 1084 Classic EQs or 88R-style 4-band EQS, VCA-style digital control of analog dynamics, and Neve A/D-D/A converters for the monitoring section.
Customize your workflow
Another advantage Genesys offers that is no longer the sole province of control surfaces is the ability to customize the control surface to suit the way you work, or, create custom workflows. Plus, there's that classic Neve look and feel to the controls. But don't let looks deceive you; they're ultra modern too. Every switch is “soft,” which enables benefits beyond merely letting you customize your setup. It also means every routing decision and every switch setting can be saved and instantaneously reset. Add the legendary sounding Neve analog EQ and optional dynamics cassettes and you can instantly recall these settings too. Just think of the reconfiguration time that saves when you're balancing multiple projects in your studio.
What the pros are saying about the Neve Genesys
“I took a song I mixed on a different console, and I did a quick mix of it on the Genesys . . . I felt, apart from the time-consuming details, I had sonically beaten the other mix in almost a matter of minutes. The Genesys had what I was really hoping for, which is the stereo bus of the 88R from an audio standpoint it sounds the same to me. It sounded so much better than the console I'd originally mixed that song on.” John O'Mahony-Grammy-nominated mixer and producer)
“It's been an absolute pleasure using our 24-channel Genesys over the past year, both in terms of sonics, workflow via the DAW & taking advantage of the large format console options. Producers & engineers who come through 80 HERTZ comment on just how easy it is to integrate their computers with the console-without fuss! AMS Neve customer support is second to none of course, and we enjoy working with their R&D team, developing exciting new features based around our modern hybrid (analog and digital) work flows.”- George Atkins, Grammy-nominated mixer and producer
“In my mind, the name Neve has always been synonymous with ‘musical.' Before mixing in the box was even feasible, a console was the center of every mix and a Neve console was always my favorite.”-Russ Long, producer-engineer
It would be easy to call the AMS Neve Genesys a best-of-both-worlds solution, but in point of fact, it's a best of worlds as yet undiscovered. Start with the more affordable 16-fader configuration and work your way up to a 64-fader monster as the name “Neve” brings clients to your studio. For more information, call or chat online with your PAD Studio Integrator today.
Specifications
Record Mode
Mic Input (Electronically Balanced) to Insert Send
- Headroom: >+27dBu @ 1kHz (<0.5% THD+N)
- Frequency response: Typically +/- 0.05dB, 20Hz to 20kHz
- Distortion (THD+N): Typically 0.002% @ 1kHz (measured at +20dBu 10Hz to 80kHz filter)
- Noise (EIN): <-127.5dBu (20Hz to 22kHz filter, 60dB gain, input terminated 150 ohm R)
Line Input to Insert Send
- Headroom: >+27dBu @ 1kHz (<0.5% THD+N)
- Frequency response: Typically +/- 0.05dB, 20Hz to 20kHz
- Distortion (THD+N): Typically 0.001% @ 1kHz (measured at +20dBu, 10Hz to 80kHz filter)
- Noise: <-92dBu (20Hz to 22kHz filter)
Line Input to Direct Output
- Headroom: >+27dBu @ 1kHz (<0.5% THD+N)
- Frequency response: Typically +/- 0.1dB, 20Hz to 20kHz
- Distortion (THD+N): Typically 0.001% @ 1kHz (measured at +20dBu, 10Hz to 80kHz filter)
- Noise: <-90dBu (20Hz to 22kHz filter)
Mix Mode
DAW Return Input to Mix Output
- Headroom: >+27dBu @ 1kHz (<0.5% THD+N)
- Frequency response: Typically +/- 0.1dB, 20Hz to 20kHz
- Distortion (THD+N): Typically 0.001% @ 1kHz (measured at +20dBu, 10Hz to 80kHz filter)
Noise
- <-90dBu (20Hz to 20kHz filter, no channel routed)
- <-88dBu (20Hz to 22kHz filter, 1 channel routed)
- <-80dBu (20Hz to 22kHz filter, 16 channel routed)
DAW Return Input to 8T Mix Output
- Headroom: >+27dBu @ 1kHz (<0.5% THD+N)
- Frequency response: Typically +/- 0.15dB, 20Hz to 20kHz
- Distortion (THD+N): Typically 0.003% @ 1kHz (measured at +20dBu, 10Hz to 80kHz filter)
- Noise: <-90dBu (20Hz to 22kHz filter, no channel routed); <-87dBu (20Hz to 22kHz filter, 1 channel routed)
DAW Return Input to Aux Mix Output
- Headroom: >+27dBu @ 1kHz (<0.5% THD+N)
- Frequency response: Typically +/- 0.12dB, 20Hz to 20kHz
- Distortion (THD+N): Typically 0.002% @ 1kHz (measured at +20dBu, 10Hz to 80kHz filter)
- Noise: <-92dBu (20Hz to 22kHz filter, no channel routed); <-88dBu (20Hz to 22kHz filter, 1 channel routed)
General Specifications
Control Room Output feed from Main Mix
- Headroom: >+26dBu @ 1kHz (<0.5% THD+N)
- Frequency response: Typically +/- 0.15dB, 20Hz to 20kHz
- Distortion (THD+N): Typically 0.002% @ 1kHz (measured at +20dBu, 10Hz to 80kHz filter)
- Noise: <-85dBu (20Hz to 22kHz filter)
Crosstalk
- Inter-channel crosstalk: <100dBu @ 1kHz
- Mix bus crosstalk: <100dBu @ 1kHz
- 8T Mix bus crosstalk: <100dBu @ 1kHz
- Aux Mix bus crosstalk: <100dBu @ 1kHz
Heat dissipation
- 16-channel console: < 500 watts
- Each 16-channel section: < 350 watts
- Power factor: >0.65
Voltage
- Input voltage range: 90 – 250 volts AC only, auto ranging
Current
- Standard 16 channel: 2.5 to 4 Amps RMS
- Each 16 channel section: 1.5 – 3.0 Amps RMS
- Switch-on surge: 10 amps for 7ms (average)
Physical
- Height: 38-3/16" / 970 mm to top of loudspeaker shelf
- Fader height: 28-5/16" / 720 mm
- Height Adjustment: 3/8" / +/-10 mm
- Width 16-channel console: 42-15/16" / 1090 mm
- Each 16 channel section: 26-3/8" / 672 mm
- Depth: 35-13/16" / 910.5 mm (includes loudspeaker shelf)
- Weight 16-channel console and frame: 169.75 lb. / 77 kg
- Each 16 channel section and frame: 132.27 lb. / 60 kg
AMS Neve Genesys G32 (32 input, 16 fader) console
Regular price $60,450.00 Save $-60,450.00Fitted with;
- 16x digitally controllable/recallable, analogue Neve 88R-style, 4-band EQ
- 8x digitally controllable/recallable, analogue Neve Dynamics
- Encore Automation
- Total Recall software
- Console stand
The AMS Neve Genesys G32 is a hybrid analog/digital console that combines modular upgradeability with 16 channels of Neve 1073 mic pre/line amplifiers, 16-channel DAW monitoring, total reset and total recall, motorized faders, Encore automation, remote preamp control and much more-G32 basic 16-channel, 32-input console
Check out the new Genesys Control software, which gives full control and instant reset/recall of all digital functionality of the console.
https://www.proaudiodesign.com/products/genesys-control-software
Preceding the Genesys Black, but still in production, the AMS Neve Genesys was Neve's first answer to the multi-level convenience of digital technology as well as it's primary deficiency, which is the obvious lack of Neve's analog sound and full midrange. In creating the Genesys, Neve engineers were truly up against some serious hurdles. Control surfaces offer the advantage of modularity, which enables you to build the console as your business needs dictate. However, since the real world is analog, you need to create a hybrid system of analog I/O and digital control. It's not unusual to see a digital workstation perpendicular to a large analog desk at one end, which means the monitor is firing into one ear. Along with taking up studio real estate, a hybrid system also requires a lot of complicated wiring and interface issues. In a nutshell, the prime directive for AMS Neve engineers was to create a console that combined the advantages of digital control and automation, modular upgradability, and of course, classic Neve analog sound-but also to make owning a Neve console a realistic prospect for smaller studios without compromising on sound quality. Or, in other words, the AMS Neve Genesys.
AMS Neve Genesys G32-Just the Facts:
- 16 channels of Neve 1073 mic pre/line amplifiers
- 16 channel DAW monitoring
- Total Reset and Total Recall
- Motorized faders with Encore Automation
- Remote mic amp control
- 6 aux sends (4 mono and 2 stereo)
- 8 groups
- 2 main outs
- 4 effects returns
- 16ch, 8t, 2t and monitor metering
- 1 mixing and monitoring
- 2 cue mixes
- Full talkback capability
- Internal PSU
- USB stick store, load & reset
- Hands-on DAW control for Pro Tools, etc.
AMS Neve Genesys G32-Beneath the Surface
Genesys, hand-built in AMS Neve's UK factory, combines superb analog design and true Neve preamp circuitry with hands-on DAW control and connectivity for Pro Tools, etc. In its basic 16-fader configuration you get 16 channels of 1073 mic/line preamps, 16 channels of DAW mixing, 32-channel analog summing at mixdown, eight auxiliary buses, eight group buses, and 5.1 monitoring.
Modular and upgradable
Before the Genesys arrived on the scene, analog consoles were commissioned to a fixed channel count. If you wanted to add preamps and faders, you needed to add a sidecar, such as the Neve BCM10/2, which, in the case of the BCM, needed modification and added clutter. Modern control surfaces, since they don't pass audio, can be upgraded easily. However, it's a tricky thing to do with analog desks, but that didn't stop AMS Neve. The Genesys is also modular. As your business expands (and it surely will with Neve prominently displayed in your control room) so can your Genesys, all the way up to a 64-fader, 128-input big dog. Other options include upgrading to digitally controlled, analog Neve 1084 Classic EQs or 88R-style 4-band EQS, VCA-style digital control of analog dynamics, and Neve A/D-D/A converters for the monitoring section.
Customize your workflow
Another advantage Genesys offers that is no longer the sole province of control surfaces is the ability to customize the control surface to suit the way you work, or, create custom workflows. Plus, there's that classic Neve look and feel to the controls. But don't let looks deceive you; they're ultra modern too. Every switch is “soft,” which enables benefits beyond merely letting you customize your setup. It also means every routing decision and every switch setting can be saved and instantaneously reset. Add the legendary sounding Neve analog EQ and optional dynamics cassettes and you can instantly recall these settings too. Just think of the reconfiguration time that saves when you're balancing multiple projects in your studio.
What the pros are saying about the Neve Genesys
“I took a song I mixed on a different console, and I did a quick mix of it on the Genesys . . . I felt, apart from the time-consuming details, I had sonically beaten the other mix in almost a matter of minutes. The Genesys had what I was really hoping for, which is the stereo bus of the 88R from an audio standpoint it sounds the same to me. It sounded so much better than the console I'd originally mixed that song on.” John O'Mahony-Grammy-nominated mixer and producer)
“It's been an absolute pleasure using our 24-channel Genesys over the past year, both in terms of sonics, workflow via the DAW & taking advantage of the large format console options. Producers & engineers who come through 80 HERTZ comment on just how easy it is to integrate their computers with the console-without fuss! AMS Neve customer support is second to none of course, and we enjoy working with their R&D team, developing exciting new features based around our modern hybrid (analog and digital) work flows.”- George Atkins, Grammy-nominated mixer and producer
“In my mind, the name Neve has always been synonymous with ‘musical.' Before mixing in the box was even feasible, a console was the center of every mix and a Neve console was always my favorite.”-Russ Long, producer-engineer
It would be easy to call the AMS Neve Genesys a best-of-both-worlds solution, but in point of fact, it's a best of worlds as yet undiscovered. Start with the more affordable 16-fader configuration and work your way up to a 64-fader monster as the name “Neve” brings clients to your studio. For more information, call or chat online with your PAD Studio Integrator today.
Specifications
Record Mode
Mic Input (Electronically Balanced) to Insert Send
- Headroom: >+27dBu @ 1kHz (<0.5% THD+N)
- Frequency response: Typically +/- 0.05dB, 20Hz to 20kHz
- Distortion (THD+N): Typically 0.002% @ 1kHz (measured at +20dBu 10Hz to 80kHz filter)
- Noise (EIN): <-127.5dBu (20Hz to 22kHz filter, 60dB gain, input terminated 150 ohm R)
Line Input to Insert Send
- Headroom: >+27dBu @ 1kHz (<0.5% THD+N)
- Frequency response: Typically +/- 0.05dB, 20Hz to 20kHz
- Distortion (THD+N): Typically 0.001% @ 1kHz (measured at +20dBu, 10Hz to 80kHz filter)
- Noise: <-92dBu (20Hz to 22kHz filter)
Line Input to Direct Output
- Headroom: >+27dBu @ 1kHz (<0.5% THD+N)
- Frequency response: Typically +/- 0.1dB, 20Hz to 20kHz
- Distortion (THD+N): Typically 0.001% @ 1kHz (measured at +20dBu, 10Hz to 80kHz filter)
- Noise: <-90dBu (20Hz to 22kHz filter)
Mix Mode
DAW Return Input to Mix Output
- Headroom: >+27dBu @ 1kHz (<0.5% THD+N)
- Frequency response: Typically +/- 0.1dB, 20Hz to 20kHz
- Distortion (THD+N): Typically 0.001% @ 1kHz (measured at +20dBu, 10Hz to 80kHz filter)
Noise
- <-90dBu (20Hz to 20kHz filter, no channel routed)
- <-88dBu (20Hz to 22kHz filter, 1 channel routed)
- <-80dBu (20Hz to 22kHz filter, 16 channel routed)
DAW Return Input to 8T Mix Output
- Headroom: >+27dBu @ 1kHz (<0.5% THD+N)
- Frequency response: Typically +/- 0.15dB, 20Hz to 20kHz
- Distortion (THD+N): Typically 0.003% @ 1kHz (measured at +20dBu, 10Hz to 80kHz filter)
- Noise: <-90dBu (20Hz to 22kHz filter, no channel routed); <-87dBu (20Hz to 22kHz filter, 1 channel routed)
DAW Return Input to Aux Mix Output
- Headroom: >+27dBu @ 1kHz (<0.5% THD+N)
- Frequency response: Typically +/- 0.12dB, 20Hz to 20kHz
- Distortion (THD+N): Typically 0.002% @ 1kHz (measured at +20dBu, 10Hz to 80kHz filter)
- Noise: <-92dBu (20Hz to 22kHz filter, no channel routed); <-88dBu (20Hz to 22kHz filter, 1 channel routed)
General Specifications
Control Room Output feed from Main Mix
- Headroom: >+26dBu @ 1kHz (<0.5% THD+N)
- Frequency response: Typically +/- 0.15dB, 20Hz to 20kHz
- Distortion (THD+N): Typically 0.002% @ 1kHz (measured at +20dBu, 10Hz to 80kHz filter)
- Noise: <-85dBu (20Hz to 22kHz filter)
Crosstalk
- Inter-channel crosstalk: <100dBu @ 1kHz
- Mix bus crosstalk: <100dBu @ 1kHz
- 8T Mix bus crosstalk: <100dBu @ 1kHz
- Aux Mix bus crosstalk: <100dBu @ 1kHz
Heat dissipation
- 16-channel console: < 500 watts
- Each 16-channel section: < 350 watts
- Power factor: >0.65
Voltage
- Input voltage range: 90 – 250 volts AC only, auto ranging
Current
- Standard 16 channel: 2.5 to 4 Amps RMS
- Each 16 channel section: 1.5 – 3.0 Amps RMS
- Switch-on surge: 10 amps for 7ms (average)
Physical
- Height: 38-3/16" / 970 mm to top of loudspeaker shelf
- Fader height: 28-5/16" / 720 mm
- Height Adjustment: 3/8" / +/-10 mm
- Width 16-channel console: 42-15/16" / 1090 mm
- Each 16 channel section: 26-3/8" / 672 mm
- Depth: 35-13/16" / 910.5 mm (includes loudspeaker shelf)
- Weight 16-channel console and frame: 169.75 lb. / 77 kg
- Each 16 channel section and frame: 132.27 lb. / 60 kg
AMS Neve Genesys G3D System
Regular price $18,745.00 Save $-18,745.00Introducing Genesys G3D: Integrated Analogue Mixing in Three Dimensions
Genesys 3D is the world’s first object-based hardware and software platform, allowing for three-dimensional analogue mixing directly from the console surface.
The Genesys G3D system enhances the industry renowned Genesys™ console by introducing Dolby Atmos® mixing capability, approved by Dolby®, via a combination of hardware and software innovations.
Dolby Atmos Approved
Dolby and Neve’s long-standing partnership led to innovations in the post-production industry, notably the Dolby Atmos integration into the world-leading film console, the DFC3D. Now, by working closely with the Dolby team once again, Neve has developed the first studio console capable of remotely controlling the Dolby Atmos technology.
Three-Dimensional Mixing
For the first time, Engineers and Artists alike can push the boundaries of music production into the three-dimensional Dolby Atmos space. The Genesys G3D allows for object-based mixing of analogue console audio, capable of controlling the metadata of 118 objects, via multiple control methods.
Touch Sensitive Encoders
The comprehensive software package is complimented by innovative hardware upgrades, including a new SSD-based, 64-bit computer system – futureproofing the console for years to come. At the heart of the G3D system, the new G3D monitor panel features new touch-sensitive logicators, each with a 30 segment LED halo - 3D coordinates at a glance.
Plugin Based Automation
Over the years, the Neve Genesys has harnessed the power of DAW-based plugin automation. The new G3D system expands this capability by adding 3D positioning parameters to the Genesys ControlPlugin, allowing for object automation from within the DAW.
Integrated Speaker Management
The latest in pristine DA conversion is the perfect complement to the G3D system. The Neve StarNet ADA16 can be remotely configured and controlled from the G3D system, allowing for hands on control of Dolby Atmos speaker levels directly from the console surface. The binaural headphone render can feed into the Genesys built-in headphone amp, integrating the Dolby Atmos system into the console, removing the need for awkwardly interfaced external gear.
Unparalleled Digital Control
The Genesys G3D hardware features a bank of new dedicated software-specific controls for the Dolby Atmos Renderer. Integrating software functions into a tactile hardware control surface allows for unparalleled control of the Dolby Atmos Renderer from the console surface, speeding up your workflow.
Joe Heaton, Product Specialist at AMS Neve says:
"The Genesys G3D system has been one of the most exciting developments that the team have been working on over the past few years. The Genesys was already one of the most groundbreaking products in the studio market. However, by injecting our digital control expertise, we were once again able to innovate in this space further, introducing a powerful new system designed to benefit audio professionals as they enter the Dolby Atmos for Music Frontier”
Key Features
- Mix analogue audio into the Dolby Atmos format.
- Powerful object-based system capable of metadata control over all 118 objects.
- Plugin based automation system via Genesys ControlPlugin enhancement.
- Remotely configure and control speaker outputs from the console surface (7.1.4, 9.1.4, or 9.1.6.)
- Touch-sensitive logicators for improved object automation.
- Dedicated Dolby Atmos Renderer control switches, for a tactile Atmos workflow.
- 3D attenuation control from the console surface allows for a ‘hands-on’ approach to Dolby Atmos monitoring.
- Binaural headphone routing integrates the console’s powerful headphone amp into the Dolby Atmos system.
AMS Neve Genesys G48
Regular price $64,950.00 Save $-64,950.00The AMS Neve Genesys G48 is a hybrid analog/digital console that combines modular upgradeability with 24 channels of Neve 1073 mic pre/line amplifiers, 16-channel DAW monitoring, total reset and total recall, motorized faders, Encore automation, remote preamp control and much more-24-fader, 48-input console
Check out the new Genesys Control software, which gives full control and instant reset/recall of all digital functionality of the console.
https://www.proaudiodesign.com/products/genesys-control-software
Preceding the Genesys Black, but still in production, the AMS Neve Genesys was Neve's first answer to the multi-level convenience of digital technology as well as it's primary deficiency, which is the obvious lack of Neve's analog sound and full midrange. In creating the Genesys, Neve engineers were truly up against some serious hurdles. Control surfaces offer the advantage of modularity, which enables you to build the console as your business needs dictate. However, since the real world is analog, you need to create a hybrid system of analog I/O and digital control. It's not unusual to see a digital workstation perpendicular to a large analog desk at one end, which means the monitor is firing into one ear. Along with taking up studio real estate, a hybrid system also requires a lot of complicated wiring and interface issues. In a nutshell, the prime directive for AMS Neve engineers was to create a console that combined the advantages of digital control and automation, modular upgradability, and of course, classic Neve analog sound-but also to make owning a Neve console a realistic prospect for smaller studios without compromising on sound quality. Or, in other words, the AMS Neve Genesys.
AMS Neve Genesys G48-Just the Facts:
- 24 channels of Neve 1073 mic pre/line amplifiers
- 24-channel DAW monitoring
- Total Reset and Total Recall
- Motorized faders with Encore Automation
- Remote mic amp control
- 6 aux sends (4 mono and 2 stereo)
- 8 groups
- 2 main outs
- 4 effects returns
- 24ch, 8t, 2t and monitor metering
- 1 mixing and monitoring
- 2 cue mixes
- Full talkback capability
- Internal PSU
- USB stick store, load & reset
- Hands-on DAW control for Pro Tools, etc.
- 88R EQ on all channels now included in base console specification
- 8-channel Neve VCA Dynamics card now included in base console specification
GenesysControl plugin now included in base console specification - Price reduction for overall new 'base' console specification
- New G3D Dolby Atmos panning option, with new console hardware/software and ADA16 unit
AMS Neve Genesys G48-Beneath the Surface
Genesys, hand-built in AMS Neve's UK factory, combines superb analog design and true Neve preamp circuitry with hands-on DAW control and connectivity for Pro Tools, etc. In its basic 16-fader configuration you get 16 channels of 1073 mic/line preamps, 16 channels of DAW mixing, 32-channel analog summing at mixdown, eight auxiliary buses, eight group buses, and 5.1 monitoring.
Modular and upgradable
Before the Genesys arrived on the scene, analog consoles were commissioned to a fixed channel count. If you wanted to add preamps and faders, you needed to add a sidecar, such as the Neve BCM10/2, which, in the case of the BCM, needed modification and added clutter. Modern control surfaces, since they don't pass audio, can be upgraded easily. However, it's a tricky thing to do with analog desks, but that didn't stop AMS Neve. The Genesys is also modular. As your business expands (and it surely will with Neve prominently displayed in your control room) so can your Genesys, all the way up to a 64-fader, 128-input big dog. Other options include upgrading to digitally controlled, analog Neve 1084 Classic EQs or 88R-style 4-band EQS, VCA-style digital control of analog dynamics, and Neve A/D-D/A converters for the monitoring section.
Customize your workflow
Another advantage Genesys offers that is no longer the sole province of control surfaces is the ability to customize the control surface to suit the way you work, or, create custom workflows. Plus, there's that classic Neve look and feel to the controls. But don't let looks deceive you; they're ultra modern too. Every switch is “soft,” which enables benefits beyond merely letting you customize your setup. It also means every routing decision and every switch setting can be saved and instantaneously reset. Add the legendary sounding Neve analog EQ and optional dynamics cassettes and you can instantly recall these settings too. Just think of the reconfiguration time that saves when you're balancing multiple projects in your studio.
What the pros are saying about the Neve Genesys
“I took a song I mixed on a different console, and I did a quick mix of it on the Genesys . . . I felt, apart from the time-consuming details, I had sonically beaten the other mix in almost a matter of minutes. The Genesys had what I was really hoping for, which is the stereo bus of the 88R from an audio standpoint it sounds the same to me. It sounded so much better than the console I'd originally mixed that song on.” John O'Mahony-Grammy-nominated mixer and producer)
“It's been an absolute pleasure using our 24-channel Genesys over the past year, both in terms of sonics, workflow via the DAW & taking advantage of the large format console options. Producers & engineers who come through 80 HERTZ comment on just how easy it is to integrate their computers with the console-without fuss! AMS Neve customer support is second to none of course, and we enjoy working with their R&D team, developing exciting new features based around our modern hybrid (analog and digital) work flows.”- George Atkins, Grammy-nominated mixer and producer
“In my mind, the name Neve has always been synonymous with ‘musical.' Before mixing in the box was even feasible, a console was the center of every mix and a Neve console was always my favorite.”-Russ Long, producer-engineer
It would be easy to call the AMS Neve Genesys a best-of-both-worlds solution, but in point of fact, it's a best of worlds as yet undiscovered. When you're ready to outfit you're A-room with the impressive G48, call or chat online with your PAD Studio Integrator today.
Specifications
Record Mode
Mic Input (Electronically Balanced) to Insert Send
- Headroom: >+27dBu @ 1kHz (<0.5% THD+N)
- Frequency response: Typically +/- 0.05dB, 20Hz to 20kHz
- Distortion (THD+N): Typically 0.002% @ 1kHz (measured at +20dBu 10Hz to 80kHz filter)
- Noise (EIN): <-127.5dBu (20Hz to 22kHz filter, 60dB gain, input terminated 150 ohm R)
Line Input to Insert Send
- Headroom: >+27dBu @ 1kHz (<0.5% THD+N)
- Frequency response: Typically +/- 0.05dB, 20Hz to 20kHz
- Distortion (THD+N): Typically 0.001% @ 1kHz (measured at +20dBu, 10Hz to 80kHz filter)
- Noise: <-92dBu (20Hz to 22kHz filter)
Line Input to Direct Output
- Headroom: >+27dBu @ 1kHz (<0.5% THD+N)
- Frequency response: Typically +/- 0.1dB, 20Hz to 20kHz
- Distortion (THD+N): Typically 0.001% @ 1kHz (measured at +20dBu, 10Hz to 80kHz filter)
- Noise: <-90dBu (20Hz to 22kHz filter)
Mix Mode
DAW Return Input to Mix Output
- Headroom: >+27dBu @ 1kHz (<0.5% THD+N)
- Frequency response: Typically +/- 0.1dB, 20Hz to 20kHz
- Distortion (THD+N): Typically 0.001% @ 1kHz (measured at +20dBu, 10Hz to 80kHz filter)
Noise
- <-90dBu (20Hz to 20kHz filter, no channel routed)
- <-88dBu (20Hz to 22kHz filter, 1 channel routed)
- <-80dBu (20Hz to 22kHz filter, 16 channel routed)
DAW Return Input to 8T Mix Output
- Headroom: >+27dBu @ 1kHz (<0.5% THD+N)
- Frequency response: Typically +/- 0.15dB, 20Hz to 20kHz
- Distortion (THD+N): Typically 0.003% @ 1kHz (measured at +20dBu, 10Hz to 80kHz filter)
- Noise: <-90dBu (20Hz to 22kHz filter, no channel routed); <-87dBu (20Hz to 22kHz filter, 1 channel routed)
DAW Return Input to Aux Mix Output
- Headroom: >+27dBu @ 1kHz (<0.5% THD+N)
- Frequency response: Typically +/- 0.12dB, 20Hz to 20kHz
- Distortion (THD+N): Typically 0.002% @ 1kHz (measured at +20dBu, 10Hz to 80kHz filter)
- Noise: <-92dBu (20Hz to 22kHz filter, no channel routed); <-88dBu (20Hz to 22kHz filter, 1 channel routed)
General Specifications
Control Room Output feed from Main Mix
- Headroom: >+26dBu @ 1kHz (<0.5% THD+N)
- Frequency response: Typically +/- 0.15dB, 20Hz to 20kHz
- Distortion (THD+N): Typically 0.002% @ 1kHz (measured at +20dBu, 10Hz to 80kHz filter)
- Noise: <-85dBu (20Hz to 22kHz filter)
Crosstalk
- Inter-channel crosstalk: <100dBu @ 1kHz
- Mix bus crosstalk: <100dBu @ 1kHz
- 8T Mix bus crosstalk: <100dBu @ 1kHz
- Aux Mix bus crosstalk: <100dBu @ 1kHz
Heat dissipation
- 16-channel console: < 500 watts
- Each 16-channel section: < 350 watts
- Power factor: >0.65
Voltage
- Input voltage range: 90 – 250 volts AC only, auto ranging
Current
- Standard 16-channel: 2.5 to 4 Amps RMS
- Each 16-channel section: 1.5 – 3.0 Amps RMS
- Switch-on surge: 10 amps for 7ms (average)
Physical
- Height: 38-3/16" / 970 mm to top of loudspeaker shelf
- Fader height: 28-5/16" / 720 mm
- Height Adjustment: 3/8" / +/-10 mm
- Width (24-fader console): 69-5/16" / 1760.5 mm
- Each 16 channel section: 26-3/8" / 672 mm
- Depth: 35-13/16" / 910.5 mm (includes loudspeaker shelf)
- Weight: 169.75 lb. / 77 kg (Basic 16-fader configuration)
- Each 16 channel section and frame: 132.27 lb. / 60 kg
AMS Neve Genesys G48 (48 input, 24 fader) Base Console
Regular price $81,450.00 Save $-81,450.00Fitted with;
- 24x digitally controllable/recallable, analogue Neve 88R-style, 4-band EQ
- 8x digitally controllable/recallable, analogue Neve Dynamics
- Encore Automation
- Total Recall software
- Console stand
The AMS Neve Genesys G48 is a hybrid analog/digital console that combines modular upgradeability with 24 channels of Neve 1073 mic pre/line amplifiers, 16-channel DAW monitoring, total reset and total recall, motorized faders, Encore automation, remote preamp control and much more-24-fader, 48-input console
Check out the new Genesys Control software, which gives full control and instant reset/recall of all digital functionality of the console.
https://www.proaudiodesign.com/products/genesys-control-software
Preceding the Genesys Black, but still in production, the AMS Neve Genesys was Neve's first answer to the multi-level convenience of digital technology as well as it's primary deficiency, which is the obvious lack of Neve's analog sound and full midrange. In creating the Genesys, Neve engineers were truly up against some serious hurdles. Control surfaces offer the advantage of modularity, which enables you to build the console as your business needs dictate. However, since the real world is analog, you need to create a hybrid system of analog I/O and digital control. It's not unusual to see a digital workstation perpendicular to a large analog desk at one end, which means the monitor is firing into one ear. Along with taking up studio real estate, a hybrid system also requires a lot of complicated wiring and interface issues. In a nutshell, the prime directive for AMS Neve engineers was to create a console that combined the advantages of digital control and automation, modular upgradability, and of course, classic Neve analog sound-but also to make owning a Neve console a realistic prospect for smaller studios without compromising on sound quality. Or, in other words, the AMS Neve Genesys.
AMS Neve Genesys G48-Just the Facts:
- 24 channels of Neve 1073 mic pre/line amplifiers
- 24-channel DAW monitoring
- Total Reset and Total Recall
- Motorized faders with Encore Automation
- Remote mic amp control
- 6 aux sends (4 mono and 2 stereo)
- 8 groups
- 2 main outs
- 4 effects returns
- 24ch, 8t, 2t and monitor metering
- 1 mixing and monitoring
- 2 cue mixes
- Full talkback capability
- Internal PSU
- USB stick store, load & reset
- Hands-on DAW control for Pro Tools, etc.
AMS Neve Genesys G48-Beneath the Surface
Genesys, hand-built in AMS Neve's UK factory, combines superb analog design and true Neve preamp circuitry with hands-on DAW control and connectivity for Pro Tools, etc. In its basic 16-fader configuration you get 16 channels of 1073 mic/line preamps, 16 channels of DAW mixing, 32-channel analog summing at mixdown, eight auxiliary buses, eight group buses, and 5.1 monitoring.
Modular and upgradable
Before the Genesys arrived on the scene, analog consoles were commissioned to a fixed channel count. If you wanted to add preamps and faders, you needed to add a sidecar, such as the Neve BCM10/2, which, in the case of the BCM, needed modification and added clutter. Modern control surfaces, since they don't pass audio, can be upgraded easily. However, it's a tricky thing to do with analog desks, but that didn't stop AMS Neve. The Genesys is also modular. As your business expands (and it surely will with Neve prominently displayed in your control room) so can your Genesys, all the way up to a 64-fader, 128-input big dog. Other options include upgrading to digitally controlled, analog Neve 1084 Classic EQs or 88R-style 4-band EQS, VCA-style digital control of analog dynamics, and Neve A/D-D/A converters for the monitoring section.
Customize your workflow
Another advantage Genesys offers that is no longer the sole province of control surfaces is the ability to customize the control surface to suit the way you work, or, create custom workflows. Plus, there's that classic Neve look and feel to the controls. But don't let looks deceive you; they're ultra modern too. Every switch is “soft,” which enables benefits beyond merely letting you customize your setup. It also means every routing decision and every switch setting can be saved and instantaneously reset. Add the legendary sounding Neve analog EQ and optional dynamics cassettes and you can instantly recall these settings too. Just think of the reconfiguration time that saves when you're balancing multiple projects in your studio.
What the pros are saying about the Neve Genesys
“I took a song I mixed on a different console, and I did a quick mix of it on the Genesys . . . I felt, apart from the time-consuming details, I had sonically beaten the other mix in almost a matter of minutes. The Genesys had what I was really hoping for, which is the stereo bus of the 88R from an audio standpoint it sounds the same to me. It sounded so much better than the console I'd originally mixed that song on.” John O'Mahony-Grammy-nominated mixer and producer)
“It's been an absolute pleasure using our 24-channel Genesys over the past year, both in terms of sonics, workflow via the DAW & taking advantage of the large format console options. Producers & engineers who come through 80 HERTZ comment on just how easy it is to integrate their computers with the console-without fuss! AMS Neve customer support is second to none of course, and we enjoy working with their R&D team, developing exciting new features based around our modern hybrid (analog and digital) work flows.”- George Atkins, Grammy-nominated mixer and producer
“In my mind, the name Neve has always been synonymous with ‘musical.' Before mixing in the box was even feasible, a console was the center of every mix and a Neve console was always my favorite.”-Russ Long, producer-engineer
It would be easy to call the AMS Neve Genesys a best-of-both-worlds solution, but in point of fact, it's a best of worlds as yet undiscovered. When you're ready to outfit you're A-room with the impressive G48, call or chat online with your PAD Studio Integrator today.
Specifications
Record Mode
Mic Input (Electronically Balanced) to Insert Send
- Headroom: >+27dBu @ 1kHz (<0.5% THD+N)
- Frequency response: Typically +/- 0.05dB, 20Hz to 20kHz
- Distortion (THD+N): Typically 0.002% @ 1kHz (measured at +20dBu 10Hz to 80kHz filter)
- Noise (EIN): <-127.5dBu (20Hz to 22kHz filter, 60dB gain, input terminated 150 ohm R)
Line Input to Insert Send
- Headroom: >+27dBu @ 1kHz (<0.5% THD+N)
- Frequency response: Typically +/- 0.05dB, 20Hz to 20kHz
- Distortion (THD+N): Typically 0.001% @ 1kHz (measured at +20dBu, 10Hz to 80kHz filter)
- Noise: <-92dBu (20Hz to 22kHz filter)
Line Input to Direct Output
- Headroom: >+27dBu @ 1kHz (<0.5% THD+N)
- Frequency response: Typically +/- 0.1dB, 20Hz to 20kHz
- Distortion (THD+N): Typically 0.001% @ 1kHz (measured at +20dBu, 10Hz to 80kHz filter)
- Noise: <-90dBu (20Hz to 22kHz filter)
Mix Mode
DAW Return Input to Mix Output
- Headroom: >+27dBu @ 1kHz (<0.5% THD+N)
- Frequency response: Typically +/- 0.1dB, 20Hz to 20kHz
- Distortion (THD+N): Typically 0.001% @ 1kHz (measured at +20dBu, 10Hz to 80kHz filter)
Noise
- <-90dBu (20Hz to 20kHz filter, no channel routed)
- <-88dBu (20Hz to 22kHz filter, 1 channel routed)
- <-80dBu (20Hz to 22kHz filter, 16 channel routed)
DAW Return Input to 8T Mix Output
- Headroom: >+27dBu @ 1kHz (<0.5% THD+N)
- Frequency response: Typically +/- 0.15dB, 20Hz to 20kHz
- Distortion (THD+N): Typically 0.003% @ 1kHz (measured at +20dBu, 10Hz to 80kHz filter)
- Noise: <-90dBu (20Hz to 22kHz filter, no channel routed); <-87dBu (20Hz to 22kHz filter, 1 channel routed)
DAW Return Input to Aux Mix Output
- Headroom: >+27dBu @ 1kHz (<0.5% THD+N)
- Frequency response: Typically +/- 0.12dB, 20Hz to 20kHz
- Distortion (THD+N): Typically 0.002% @ 1kHz (measured at +20dBu, 10Hz to 80kHz filter)
- Noise: <-92dBu (20Hz to 22kHz filter, no channel routed); <-88dBu (20Hz to 22kHz filter, 1 channel routed)
General Specifications
Control Room Output feed from Main Mix
- Headroom: >+26dBu @ 1kHz (<0.5% THD+N)
- Frequency response: Typically +/- 0.15dB, 20Hz to 20kHz
- Distortion (THD+N): Typically 0.002% @ 1kHz (measured at +20dBu, 10Hz to 80kHz filter)
- Noise: <-85dBu (20Hz to 22kHz filter)
Crosstalk
- Inter-channel crosstalk: <100dBu @ 1kHz
- Mix bus crosstalk: <100dBu @ 1kHz
- 8T Mix bus crosstalk: <100dBu @ 1kHz
- Aux Mix bus crosstalk: <100dBu @ 1kHz
Heat dissipation
- 16-channel console: < 500 watts
- Each 16-channel section: < 350 watts
- Power factor: >0.65
Voltage
- Input voltage range: 90 – 250 volts AC only, auto ranging
Current
- Standard 16-channel: 2.5 to 4 Amps RMS
- Each 16-channel section: 1.5 – 3.0 Amps RMS
- Switch-on surge: 10 amps for 7ms (average)
Physical
- Height: 38-3/16" / 970 mm to top of loudspeaker shelf
- Fader height: 28-5/16" / 720 mm
- Height Adjustment: 3/8" / +/-10 mm
- Width (24-fader console): 69-5/16" / 1760.5 mm
- Each 16 channel section: 26-3/8" / 672 mm
- Depth: 35-13/16" / 910.5 mm (includes loudspeaker shelf)
- Weight: 169.75 lb. / 77 kg (Basic 16-fader configuration)
- Each 16 channel section and frame: 132.27 lb. / 60 kg
AMS Neve Genesys G64
Regular price $75,950.00 Save $-75,950.00The AMS Neve Genesys G64 is a hybrid analog/digital console that combines modular upgradeability with 32 channels of Neve 1073 mic pre/line amplifiers, 16-channel DAW monitoring, total reset and total recall, motorized faders, Encore automation, remote preamp control and much more-32-fader, 64-input console
Preceding the Genesys Black, but still in production, the AMS Neve Genesys was Neve's first answer to the multi-level convenience of digital technology as well as it's primary deficiency, which is the obvious lack of Neve's analog sound and full midrange. In creating the Genesys, Neve engineers were truly up against some serious hurdles. Control surfaces offer the advantage of modularity, which enables you to build the console as your business needs dictate. However, since the real world is analog, you need to create a hybrid system of analog I/O and digital control. It's not unusual to see a digital workstation perpendicular to a large analog desk at one end, which means the monitor is firing into one ear. Along with taking up studio real estate, a hybrid system also requires a lot of complicated wiring and interface issues. In a nutshell, the prime directive for AMS Neve engineers was to create a console that combined the advantages of digital control and automation, modular upgradability, and of course, classic Neve analog sound-but also to make owning a Neve console a realistic prospect for smaller studios without compromising on sound quality. Or, in other words, the AMS Neve Genesys.
AMS Neve Genesys G64-Just the Facts:
- 32 channels of Neve 1073 mic pre/line amplifiers
- 32-channel DAW monitoring
- Total Reset and Total Recall
- Motorized faders with Encore Automation
- Remote mic amp control
- 6 aux sends (4 mono and 2 stereo)
- 8 groups
- 2 main outs
- 4 effects returns
- 32ch, 8t, 2t and monitor metering
- 1 mixing and monitoring
- 2 cue mixes
- Full talkback capability
- Internal PSU
- USB stick store, load & reset
- Hands-on DAW control for Pro Tools, etc.
AMS Neve Genesys G64-Beneath the Surface
Genesys, hand-built in AMS Neve's UK factory, combines superb analog design and true Neve preamp circuitry with hands-on DAW control and connectivity for Pro Tools, etc. In its basic 16-fader configuration you get 16 channels of 1073 mic/line preamps, 16 channels of DAW mixing, 32-channel analog summing at mixdown, eight auxiliary buses, eight group buses, and 5.1 monitoring.
Modular and upgradable
Before the Genesys arrived on the scene, analog consoles were commissioned to a fixed channel count. If you wanted to add preamps and faders, you needed to add a sidecar, such as the Neve BCM10/2, which, in the case of the BCM, needed modification and added clutter. Modern control surfaces, since they don't pass audio, can be upgraded easily. However, it's a tricky thing to do with analog desks, but that didn't stop AMS Neve. The Genesys is also modular. As your business expands (and it surely will with Neve prominently displayed in your control room) so can your Genesys, all the way up to a 64-fader, 128-input big dog. Other options include upgrading to digitally controlled, analog Neve 1084 Classic EQs or 88R-style 4-band EQS, VCA-style digital control of analog dynamics, and Neve A/D-D/A converters for the monitoring section.
Customize your workflow
Another advantage Genesys offers that is no longer the sole province of control surfaces is the ability to customize the control surface to suit the way you work, or, create custom workflows. Plus, there's that classic Neve look and feel to the controls. But don't let looks deceive you; they're ultra modern too. Every switch is “soft,” which enables benefits beyond merely letting you customize your setup. It also means every routing decision and every switch setting can be saved and instantaneously reset. Add the legendary sounding Neve analog EQ and optional dynamics cassettes and you can instantly recall these settings too. Just think of the reconfiguration time that saves when you're balancing multiple projects in your studio.
What the pros are saying about the Neve Genesys
“I took a song I mixed on a different console, and I did a quick mix of it on the Genesys . . . I felt, apart from the time-consuming details, I had sonically beaten the other mix in almost a matter of minutes. The Genesys had what I was really hoping for, which is the stereo bus of the 88R from an audio standpoint it sounds the same to me. It sounded so much better than the console I'd originally mixed that song on.” John O'Mahony-Grammy-nominated mixer and producer)
“It's been an absolute pleasure using our 24-channel Genesys over the past year, both in terms of sonics, workflow via the DAW & taking advantage of the large format console options. Producers & engineers who come through 80 HERTZ comment on just how easy it is to integrate their computers with the console-without fuss! AMS Neve customer support is second to none of course, and we enjoy working with their R&D team, developing exciting new features based around our modern hybrid (analog and digital) work flows.”- George Atkins, Grammy-nominated mixer and producer
“In my mind, the name Neve has always been synonymous with ‘musical.' Before mixing in the box was even feasible, a console was the center of every mix and a Neve console was always my favorite.”-Russ Long, producer-engineer
It would be easy to call the AMS Neve Genesys a best-of-both-worlds solution, but in point of fact, it's a best of worlds as yet undiscovered. When you're ready to outfit you're A-room with the impressive G64, call or chat online with your PAD Studio Integrator today.
Specifications
Record Mode
Mic Input (Electronically Balanced) to Insert Send
- Headroom: >+27dBu @ 1kHz (<0.5% THD+N)
- Frequency response: Typically +/- 0.05dB, 20Hz to 20kHz
- Distortion (THD+N): Typically 0.002% @ 1kHz (measured at +20dBu 10Hz to 80kHz filter)
- Noise (EIN): <-127.5dBu (20Hz to 22kHz filter, 60dB gain, input terminated 150 ohm R)
Line Input to Insert Send
- Headroom: >+27dBu @ 1kHz (<0.5% THD+N)
- Frequency response: Typically +/- 0.05dB, 20Hz to 20kHz
- Distortion (THD+N): Typically 0.001% @ 1kHz (measured at +20dBu, 10Hz to 80kHz filter)
- Noise: <-92dBu (20Hz to 22kHz filter)
Line Input to Direct Output
- Headroom: >+27dBu @ 1kHz (<0.5% THD+N)
- Frequency response: Typically +/- 0.1dB, 20Hz to 20kHz
- Distortion (THD+N): Typically 0.001% @ 1kHz (measured at +20dBu, 10Hz to 80kHz filter)
- Noise: <-90dBu (20Hz to 22kHz filter)
Mix Mode
DAW Return Input to Mix Output
- Headroom: >+27dBu @ 1kHz (<0.5% THD+N)
- Frequency response: Typically +/- 0.1dB, 20Hz to 20kHz
- Distortion (THD+N): Typically 0.001% @ 1kHz (measured at +20dBu, 10Hz to 80kHz filter)
Noise
- <-90dBu (20Hz to 20kHz filter, no channel routed)
- <-88dBu (20Hz to 22kHz filter, 1 channel routed)
- <-80dBu (20Hz to 22kHz filter, 16 channel routed)
DAW Return Input to 8T Mix Output
- Headroom: >+27dBu @ 1kHz (<0.5% THD+N)
- Frequency response: Typically +/- 0.15dB, 20Hz to 20kHz
- Distortion (THD+N): Typically 0.003% @ 1kHz (measured at +20dBu, 10Hz to 80kHz filter)
- Noise: <-90dBu (20Hz to 22kHz filter, no channel routed); <-87dBu (20Hz to 22kHz filter, 1 channel routed)
DAW Return Input to Aux Mix Output
- Headroom: >+27dBu @ 1kHz (<0.5% THD+N)
- Frequency response: Typically +/- 0.12dB, 20Hz to 20kHz
- Distortion (THD+N): Typically 0.002% @ 1kHz (measured at +20dBu, 10Hz to 80kHz filter)
- Noise: <-92dBu (20Hz to 22kHz filter, no channel routed); <-88dBu (20Hz to 22kHz filter, 1 channel routed)
General Specifications
Control Room Output feed from Main Mix
- Headroom: >+26dBu @ 1kHz (<0.5% THD+N)
- Frequency response: Typically +/- 0.15dB, 20Hz to 20kHz
- Distortion (THD+N): Typically 0.002% @ 1kHz (measured at +20dBu, 10Hz to 80kHz filter)
- Noise: <-85dBu (20Hz to 22kHz filter)
Crosstalk
- Inter-channel crosstalk: <100dBu @ 1kHz
- Mix bus crosstalk: <100dBu @ 1kHz
- 8T Mix bus crosstalk: <100dBu @ 1kHz
- Aux Mix bus crosstalk: <100dBu @ 1kHz
Heat dissipation
- 16-channel console: < 500 watts
- Each 16-channel section: < 350 watts
- Power factor: >0.65
Voltage
- Input voltage range: 90 – 250 volts AC only, auto ranging
Current
- Standard 16-channel: 2.5 to 4 Amps RMS
- Each 16-channel section: 1.5 – 3.0 Amps RMS
- Switch-on surge: 10 amps for 7ms (average)
Physical
- Height: 38-3/16" / 970 mm to top of loudspeaker shelf
- Fader height: 28-5/16" / 720 mm
- Height Adjustment: 3/8" / +/-10 mm
- Width (24-fader console): 69-5/16" / 1760.5 mm
- Each 16 channel section: 26-3/8" / 672 mm
- Depth: 35-13/16" / 910.5 mm (includes loudspeaker shelf)
- Weight: 169.75 lb. / 77 kg (Basic 16-fader configuration)
- Each 16 channel section and frame: 132.27 lb. / 60 kg
AMS Neve Genesys G96
Regular price $107,950.00 Save $-107,950.00The AMS Neve Genesys G96 is a hybrid analog/digital console that combines modular upgradeability with 48 channels of Neve 1073 mic pre/line amplifiers, 16-channel DAW monitoring, total reset and total recall, motorized faders, Encore automation, remote preamp control and much more-48-fader, 96-input console
Check out the new Genesys Control software, which gives full control and instant reset/recall of all digital functionality of the console.
https://www.proaudiodesign.com/products/genesys-control-software
Preceding the Genesys Black, but still in production, the AMS Neve Genesys was Neve's first answer to the multi-level convenience of digital technology as well as it's primary deficiency, which is the obvious lack of Neve's analog sound and full midrange. In creating the Genesys, Neve engineers were truly up against some serious hurdles. Control surfaces offer the advantage of modularity, which enables you to build the console as your business needs dictate. However, since the real world is analog, you need to create a hybrid system of analog I/O and digital control. It's not unusual to see a digital workstation perpendicular to a large analog desk at one end, which means the monitor is firing into one ear. Along with taking up studio real estate, a hybrid system also requires a lot of complicated wiring and interface issues. In a nutshell, the prime directive for AMS Neve engineers was to create a console that combined the advantages of digital control and automation, modular upgradability, and of course, classic Neve analog sound-but also to make owning a Neve console a realistic prospect for smaller studios without compromising on sound quality. Or, in other words, the AMS Neve Genesys.
AMS Neve Genesys G96-Just the Facts:
- 48 channels of Neve 1073 mic pre/line amplifiers
- 48-channel DAW monitoring
- Total Reset and Total Recall
- Motorized faders with Encore Automation
- Remote mic amp control
- 6 aux sends (4 mono and 2 stereo)
- 8 groups
- 2 main outs
- 4 effects returns
- 48ch, 8t, 2t and monitor metering
- 1 mixing and monitoring
- 2 cue mixes
- Full talkback capability
- Internal PSU
- USB stick store, load & reset
- Hands-on DAW control for Pro Tools, etc.
AMS Neve Genesys G96-Beneath the Surface
Genesys, hand-built in AMS Neve's UK factory, combines superb analog design and true Neve preamp circuitry with hands-on DAW control and connectivity for Pro Tools, etc. In its basic 16-fader configuration you get 16 channels of 1073 mic/line preamps, 16 channels of DAW mixing, 32-channel analog summing at mixdown, eight auxiliary buses, eight group buses, and 5.1 monitoring.
Modular and upgradable
Before the Genesys arrived on the scene, analog consoles were commissioned to a fixed channel count. If you wanted to add preamps and faders, you needed to add a sidecar, such as the Neve BCM10/2, which, in the case of the BCM, needed modification and added clutter. Modern control surfaces, since they don't pass audio, can be upgraded easily. However, it's a tricky thing to do with analog desks, but that didn't stop AMS Neve. The Genesys is also modular. As your business expands (and it surely will with Neve prominently displayed in your control room) so can your Genesys, all the way up to a 64-fader, 128-input big dog. Other options include upgrading to digitally controlled, analog Neve 1084 Classic EQs or 88R-style 4-band EQS, VCA-style digital control of analog dynamics, and Neve A/D-D/A converters for the monitoring section.
Customize your workflow
Another advantage Genesys offers that is no longer the sole province of control surfaces is the ability to customize the control surface to suit the way you work, or, create custom workflows. Plus, there's that classic Neve look and feel to the controls. But don't let looks deceive you; they're ultra modern too. Every switch is “soft,” which enables benefits beyond merely letting you customize your setup. It also means every routing decision and every switch setting can be saved and instantaneously reset. Add the legendary sounding Neve analog EQ and optional dynamics cassettes and you can instantly recall these settings too. Just think of the reconfiguration time that saves when you're balancing multiple projects in your studio.
What the pros are saying about the Neve Genesys
“I took a song I mixed on a different console, and I did a quick mix of it on the Genesys . . . I felt, apart from the time-consuming details, I had sonically beaten the other mix in almost a matter of minutes. The Genesys had what I was really hoping for, which is the stereo bus of the 88R from an audio standpoint it sounds the same to me. It sounded so much better than the console I'd originally mixed that song on.” John O'Mahony-Grammy-nominated mixer and producer)
“It's been an absolute pleasure using our 24-channel Genesys over the past year, both in terms of sonics, workflow via the DAW & taking advantage of the large format console options. Producers & engineers who come through 80 HERTZ comment on just how easy it is to integrate their computers with the console-without fuss! AMS Neve customer support is second to none of course, and we enjoy working with their R&D team, developing exciting new features based around our modern hybrid (analog and digital) work flows.”- George Atkins, Grammy-nominated mixer and producer
“In my mind, the name Neve has always been synonymous with ‘musical.' Before mixing in the box was even feasible, a console was the center of every mix and a Neve console was always my favorite.”-Russ Long, producer-engineer
It would be easy to call the AMS Neve Genesys a best-of-both-worlds solution, but in point of fact, it's a best of worlds as yet undiscovered. When you're ready to outfit you're A-room with the impressive G96, call or chat online with your PAD Studio Integrator today.
Specifications
Record Mode
Mic Input (Electronically Balanced) to Insert Send
- Headroom: >+27dBu @ 1kHz (<0.5% THD+N)
- Frequency response: Typically +/- 0.05dB, 20Hz to 20kHz
- Distortion (THD+N): Typically 0.002% @ 1kHz (measured at +20dBu 10Hz to 80kHz filter)
- Noise (EIN): <-127.5dBu (20Hz to 22kHz filter, 60dB gain, input terminated 150 ohm R)
Line Input to Insert Send
- Headroom: >+27dBu @ 1kHz (<0.5% THD+N)
- Frequency response: Typically +/- 0.05dB, 20Hz to 20kHz
- Distortion (THD+N): Typically 0.001% @ 1kHz (measured at +20dBu, 10Hz to 80kHz filter)
- Noise: <-92dBu (20Hz to 22kHz filter)
Line Input to Direct Output
- Headroom: >+27dBu @ 1kHz (<0.5% THD+N)
- Frequency response: Typically +/- 0.1dB, 20Hz to 20kHz
- Distortion (THD+N): Typically 0.001% @ 1kHz (measured at +20dBu, 10Hz to 80kHz filter)
- Noise: <-90dBu (20Hz to 22kHz filter)
Mix Mode
DAW Return Input to Mix Output
- Headroom: >+27dBu @ 1kHz (<0.5% THD+N)
- Frequency response: Typically +/- 0.1dB, 20Hz to 20kHz
- Distortion (THD+N): Typically 0.001% @ 1kHz (measured at +20dBu, 10Hz to 80kHz filter)
Noise
- <-90dBu (20Hz to 20kHz filter, no channel routed)
- <-88dBu (20Hz to 22kHz filter, 1 channel routed)
- <-80dBu (20Hz to 22kHz filter, 16 channel routed)
DAW Return Input to 8T Mix Output
- Headroom: >+27dBu @ 1kHz (<0.5% THD+N)
- Frequency response: Typically +/- 0.15dB, 20Hz to 20kHz
- Distortion (THD+N): Typically 0.003% @ 1kHz (measured at +20dBu, 10Hz to 80kHz filter)
- Noise: <-90dBu (20Hz to 22kHz filter, no channel routed); <-87dBu (20Hz to 22kHz filter, 1 channel routed)
DAW Return Input to Aux Mix Output
- Headroom: >+27dBu @ 1kHz (<0.5% THD+N)
- Frequency response: Typically +/- 0.12dB, 20Hz to 20kHz
- Distortion (THD+N): Typically 0.002% @ 1kHz (measured at +20dBu, 10Hz to 80kHz filter)
- Noise: <-92dBu (20Hz to 22kHz filter, no channel routed); <-88dBu (20Hz to 22kHz filter, 1 channel routed)
General Specifications
Control Room Output feed from Main Mix
- Headroom: >+26dBu @ 1kHz (<0.5% THD+N)
- Frequency response: Typically +/- 0.15dB, 20Hz to 20kHz
- Distortion (THD+N): Typically 0.002% @ 1kHz (measured at +20dBu, 10Hz to 80kHz filter)
- Noise: <-85dBu (20Hz to 22kHz filter)
Crosstalk
- Inter-channel crosstalk: <100dBu @ 1kHz
- Mix bus crosstalk: <100dBu @ 1kHz
- 8T Mix bus crosstalk: <100dBu @ 1kHz
- Aux Mix bus crosstalk: <100dBu @ 1kHz
Heat dissipation
- 16-channel console: < 500 watts
- Each 16-channel section: < 350 watts
- Power factor: >0.65
Voltage
- Input voltage range: 90 – 250 volts AC only, auto ranging
Current
- Standard 16-channel: 2.5 to 4 Amps RMS
- Each 16-channel section: 1.5 – 3.0 Amps RMS
- Switch-on surge: 10 amps for 7ms (average)
Physical
- Height: 38-3/16" / 970 mm to top of loudspeaker shelf
- Fader height: 28-5/16" / 720 mm
- Height Adjustment: 3/8" / +/-10 mm
- Width (24-fader console): 95-11/16" / 2430.5 mm
- Each 16 channel section: 26-3/8" / 672 mm
- Depth: 35-13/16" / 910.5 mm (includes loudspeaker shelf)
- Weight: 169.75 lb. / 77 kg (Basic 16-fader configuration)
- Each 16 channel section and frame: 132.27 lb. / 60 kg
AMS Neve GenesysControl Software
Regular price $695.00 Save $-695.00The AMS Neve GenesysControl plug-in enables full DAW control of analog 1084 and 88RS EQ and dynamics modules fitted into Neve Genesys and Genesys Black consoles.
The only thing missing from the world's most renowned analog preamps and equalizers used to be automation . . . but not anymore! The revolutionary AMS Neve GenesysControl plug-in for the iconic Neve Genesys and Genesys Black consoles gives you full control from your DAW-but we're not just talking fader rides. The GenesysControl plug-in enables DAW users to connect to and control the console's analog hardware, and also automate the EQ and dynamics processing parameters, fader levels, channel strip settings, and more. Now you can experience not only the benefits of Neve's incomparable analog sonics, but also full digital control as well. Better still, GenesysControl eliminates the tradeoff of working in the box for recall convenience versus the better sonics of analog outboard. Now you have both with Neve GenesysControl. It doesn't get better than this!
Neve GenesysControl-Just the Facts:
Channel Strips (Control and automation of analog hardware settings)
- Fitted 1084 or 88R EQ In/Out switching and processing parameter changes
- Fitted Dynamics In/Out switching and processing parameter changes
- AUX send In/Out switching
- Channel path fader levels and CUTs
- Monitor path fader levels and CUTs
- Channel INSert IN/Out switching
- Renaming of 4-character channel large-fader displays
Monitor section (Control and automation of analog hardware settings)
- Reverb Return levels and In/Out switching
- AUX Master In/Out switching
- Main mix INSert In/Out switching
- IMR (Insert mix Return/parallel processing) In/Out switching
- 8-Track fader level/CUT/INSert switching In/Out
- Master fader level and CUT on/off
- Renaming of 4-character 8-Track and Master fader displays
AMS Neve GenesysControl-Cracking the Code
The GenesysControl plug-in automatically recognizes analog processing hardware fitted into the Genesys. It allows control and automation of all parameters of the digitally controlled analog Neve 1084 EQ, 88R EQ, and VCA Dynamics plus Channel strip control, REV Return, 8-Track section control, and Master fader control.
All of the elements available within the GenesysControl plug-in can be fully controlled and automated from your DAW. The GenesysControl plug-in can be applied to a mono, stereo, or master track, and can be assigned to control selected channels on the Genesys or Genesys Black console.
* The GenesysControl plugin will only work when licensed to a Genesys or Genesys Black console
AMS Neve Genesys Black
The Neve Genesys Black is a very versatile digitally controlled analog console that offers the distinct advantages of classic Neve sound with direct DAW control. Plus, instead of setting up a digital mix station perpendicular to your monitors, the Neve Genesys Black enables you to sit centered between your monitors as nature intended. Thanks to a central control screen that sits below the monitors, out of the way of their positive-going acoustic excursions (that's slang for “pushing air”), Genesys Black eliminates unwanted reflections off the computer monitor. But that's not all that's front and center in your control room. The Genesys Black forms a fully integrated centralized bridge for your personal Enterprise, starting with eight channels of classic 1073 mic/line preamps, 16-channels of DAW/tape monitoring, hands-on control for Pro Tools, Nuendo, and other DAWs (Mac/PC), eight channels of digitally controlled 88R-style 4-band EQ, eight channels of VCA dynamics (optional), and channel ADA conversion up to 96kHz over MADI, AES, and FireWire. There are also 24 motorized faders, six aux buses (4 mono, two stereo) eight group buses, two main outputs with faders, four effects returns, comprehensive metering, 5.1 monitoring, two cue mixes, talkback, USB stick storage and reset, plus an internal power supply.
Neve Genesys Black-Just the Facts:
- Eight channels of Neve 1073 mic pre/line amplifiers (base configuration)
- Dedicated DAW control section with touch display
- 16 dedicated DAW control faders with corresponding stereo DAW metering on the meter bridge
- 16-channel DAW monitoring
- Total Reset and Total Recall
- Motorized 8-track and main output faders with DAW control
- Eight channels of Neve 88R-style, 4-band EQ
- Eight channels of A/D/D/A converters
- Six aux send/returns (4 mono and 2 stereo)
- Eight groups, 2 stereo mix busses (Main Mix LR + 2-track)
- Four stereo effects returns with width control
- Channel, DAW, 8-track, 2-track, and monitor metering
- Two stereo monitoring speaker sets
- 1 mixing and 2x 5.1 monitoring speaker sets
- 2 independent cue mixes
- Full talkback and reverse talkback capability
- Internal power supply units
- USB flash drive for store, load, and reset functionality
- Hands-on DAW control for Pro Tools, Logic, Cubase, and more
- AD/DA cassette to provide digital Ins/Outs (16 in, 8 out per card)
- Digitally controlled EQ and optional dynamics (88R or 1084 EQ circuitry and 88R-style Dynamics)
- Optional digital monitoring cassette providing I/O for Aux, 8-track, Main Mix and monitoring
- Expandable to 56 channels, either in straight or wedge formation
What makes Neve sound so good?
Custom Marinair transformers
Mr. Neve is a great proponent of transformer-balanced designs. Transformers excel at passive isolation, eliminate noise and hum and aren't prone to turning into radio receivers as transformerless designs can be. They also provide the advantage of long cable runs with no, or minimal signal degradation, which is essential for large multi-room facilities or live performance.
Ultra-high bandwidth
Rupert Neve was the first pro audio designer to realize that preamps band-limited to 20kHz (the supposed upper limit of human hearing) were not telling the whole story. Mr. Neve reasoned that since harmonics above the range of human hearing exist in nature, and nature doesn't engage in unnecessary excess, they must be taken into account. If nothing else, the popularity of the 1073 preamp to this day (released in 1970) proves him correct. However, it was Abbey Road's Geoff Emerick who heard “something wrong” with a channel on a newly commissioned Neve desk at Abbey Road. Eventually, after much troubleshooting, Mr. Neve discovered a capacitor wired improperly, which impacted the signal at 60kHz! That experience validated his initial hypothesis. To this day, Mr. Neve's favorite proof of the impact of ultra-high frequencies on the audible spectrum is to output a sine wave on a signal generator at 12kHz (which anyone should be able to hear) and switch it to a square wave, which everyone can easily identify. When you realize that a square wave is simply the addition of a sine wave an octave higher than the fundamental (24kHz added to 12kHz), it becomes readily apparent that ultra-high frequencies do affect the audible spectrum. Further audio research has shown that the linearity of frequencies well beyond human hearing does have an audible impact. A signal 3dB down at 25kHz can show a measured in-band phase shift of roughly -50 degrees (10kHz!).
PAD For the Record-When tubes fell out of favor and transistors became all the rage, designers of pro audio gear had a problem. Transistors didn't saturate like tubes, which distort naturally as gain is increased. Transistors, on the other hand, much like digital circuits, perform consistently as gain is increased, but once the threshold is crossed, they clip, producing rather harsh distortion. When faced with this dilemma, Mr. Rupert Neve realized that his task was to take the components we had (i.e. transistors) and find a way to make them sound musical. In so doing, it was discovered that the rich euphonic sound of tube preamps was actually more attributable to transformers than tubes. The Neve preamps prove that solid-state, transformer-based designs are just as capable of a rich, creamy sound as tube designs, hence the reference in the industry to custom-designed preamps by Neve and other manufacturers as “the big iron sound of the '70s.”
With the AMS Neve GenesysControl plug-in, your analog Neve hardware and DAW become a seamlessly integrated whole, providing the ultimate best-of-both-worlds solution for analog/digital hybrid studios that demand nothing but the best in sonics and workflow. For more information, call or chat online with your PAD Studio Consultant today.
**Please note**
The Software can only purchased when ordering the console.
If you already have a Genesys console and wish to purchase the software, please click on this link to request it for your existing console.
Link: https://www.ams-neve.com/consoles/genesyscontrol-plugin/
![AMS Neve RMX16 500 Series](http://opticecho.myshopify.com/cdn/shop/files/ams-rmx16_{width}x.jpg?v=1717756705)
AMS Neve RMX16 500 Series
Regular price $1,295.00 Save $-1,295.00The world's first microprocessor-controlled, full-bandwidth digital reverberator and characterized an enormous number of seminal recordings from the 1980s onwards
- High-performance 32-bit DSP processing and 24-bit, 48KHz sampling with premium A/D and D/A converters.
- Over 100dB dynamic range with +22dBu of headroom.
- Adjustable input and output levels for optimum signal to noise performance.
- Low power consumption (and therefore cool running).
- Independent control of each program's fundamental reverberant parameters.
- Nudge Buttons to increment or decrement data for all selectable reverberation functions.
- Alphanumeric program descriptions for ease of use when storing or recalling information for the unit's memory.
- New rotary push encoder enabling all parameters and settings to be adjusted by ear.
- New wet/dry mix blend function.
- New save/recall feature with 100 user-defined memory slots.
AMS Neve StarNet ADA16
Regular price $3,795.00 Save $-3,795.00The16x16 analogue line-level AD/DA converter seamlessly integrates into the Dante® audio-over-IP network and is set to revolutionise analogue conversion, delivering unparalleled versatility to recording studios, live sound venues, and broadcast/post-production suites.
Mastering Grade Conversion
The StarNet ADA16 has been designed to produce the ultimate in fidelity and sonic clarity, boasting incredibly low distortion and delivering a flat frequency response that extends far beyond the audible range. The ADA16 offers mastering-grade A/D converters, producing 119dBFS of dynamic range, and pristine quality D/A converters producing 122dBFS of dynamic range with selectable headroom settings of +18, 24 or 26dBu, accommodating any digital standard.
Precision in Every Detail
The StarNet ADA16 employs a modern crystal oscillator clocking system and jitter elimination DAC chips, establishing itself as the ideal master clock in any professional studio environment. Dante connections are facilitated through dual Ethernet ports, providing redundancy in case of network failure or the ability to daisy-chain multiple units in switched mode.
Premium Analogue Output Stage
Derived from the acclaimed 88R console, the ADA16's analogue output stage exceeds a 100kHz frequency bandwidth, ensuring faithful translation of true 192kHz digital audio. This stable amplification stage can drive long cable lengths without signal degradation.
User-Friendly Control and Monitoring
A front-mounted OLED screen provides ‘at-a-glance’ access to network settings, sample rate, bit depth, and more. Simple menu navigation buttons and input/output LEDs offer intuitive control for all 16 analogue inputs and outputs.
Remote Muting App for Added Control
Following on from the success of the remote controlled 1073OPX, Neve develops remote control capabilities for the ADA16. The remote muting app allows for remote control of the analogue outputs of all units on the network, providing peace of mind and protection against audio spikes. The app also allows for future upgrades further enhancing the remote control capabilities.
Efficient Heat Management
The unit's external PSU design efficiently dissipates heat, safeguarding internal components and ensuring the StarNet ADA16 is a long-term investment.
Chris Bloor, Engineering Manager at AMS Neve says:
"I am excited to present the StarNet ADA16, Neve's groundbreaking 16x16 analogue line-level AD/DA converter seamlessly integrated into the Dante audio-over-IP network. The ADA16 is designed to redefine versatility in recording studios, live sound venues, and broadcast/post-production suites.”
Key Features
- Capable of up to 192kHz sample frequency and 32-bit integer bandwidth.
- Mastering-grade A/D converters deliver a dynamic range of 119dBFS; pristine D/A converters achieve 122dBFS dynamic range.
- Low ADC/DAC distortion (<0.0007% ADC, <0.0008 DAC) and a flat frequency response of +/-0.1dBu 5Hz - 40kHz (extending to 2Hz - 92kHz at +/-3dBu)
- Analogue I/O is provided via four rear-panel DB25 connectors for simple connection to professional analogue equipment and studio patch bays.
- Selectable headroom options of +18, 24, or 26dBu accommodate any digital standard.
- Analogue I/O via four rear-panel DB25 connectors for seamless connection to professional analogue equipment and studio patch bays.
- Remote control capabilities for efficient integration into larger facilities
AMS Neve StarNet DM256
Regular price $4,295.00 Save $-4,295.00The DM256 is a compact and professional unit, redefining format conversion in recording studios, live sound venues, and broadcast/post-production suites.
Unleashing Unparalleled Power
The StarNet DM256 showcases its prowess by effortlessly converting up to 256 channels of Dante®, Rx to 256 channels of MADI Tx and vice versa. With the integration of Dante IP core technology, this powerhouse enables an expansive I/O count through a single ethernet connection, setting a new benchmark in audio technology.
A Digital Symphony of Features
Boasting one of the largest digital I/O counts on the market, the StarNet DM256 accommodates 256 channels of MADI inputs and outputs across four MADI ports. These ports feature duplex MADI SC optical connections and dual-BNC coaxial connections, meeting and exceeding professional MADI standards outlined by the Audio Engineering Society.
Precision in Every Beat
The StarNet DM256 incorporates a modern, low-drift crystal oscillator clocking system and PLL, positioning itself as the ultimate master clock in any professional studio environment. Dante connections are facilitated through dual ethernet ports, offering redundancy for network failure resilience or daisy-chaining capabilities in switched mode.
Masterful Control and Monitoring
Equipped with a Maximum Channel Mapping (MCM) feature, the DM256 ensures seamless multiplexing of MADI I/O assignments per port, maintaining session integrity during sample rate switches. The unit's front-mounted OLED screen provides at-a-glance access to crucial network settings, sample rate, bit depth, and more.
Elevated Longevity
Crafted with an external PSU design, the StarNet DM256 efficiently dissipates heat, safeguarding internal components for an extended lifespan. This design consideration underscores Neve's commitment to delivering robust and reliable audio solutions.
Chris Bloor, Engineering Manager at AMS Neve says:
“The DM256 not only redefines format conversion but sets a new standard for versatility and reliability in professional audio environments. With its extensive I/O capabilities, modern clocking system, and user-friendly features, the DM256 stands as a testament to our legacy of pushing the boundaries and shaping the future of sound engineering."
Key Features:
- Converts up to 256 channels of Dante Rx to 256 channels of MADI Tx, and vice versa.
- Harnesses Dante IP core technology for extensive I/O capability through a single Ethernet connection.
- Accommodates a vast digital I/O count with 256 channels of MADI IN/MADI OUT.
- MADI ports support duplex MADI SC optical connections and dual-BNC coaxial connections, meeting professional MADI standards.
- Utilises a modern, low-drift crystal oscillator clocking system and PLL, making it an ideal master clock in any professional studio environment.
- Provides Dante connections through dual ethernet ports for redundancy or daisy-chaining in switched mode.
- Features Maximum Channel Mapping (MCM) for automatic multiplexing of MADI I/O assignments per port.
- Supports 32-bit integer bit depths with multiple dithering options to prevent truncation-distortion.
- Front-mounted OLED screen displays essential information for easy monitoring and control.
- External PSU design ensures efficient heat dissipation, safeguarding internal components for a prolonged lifespan.
![Antares Articulator - Digital Talk Box](http://opticecho.myshopify.com/cdn/shop/files/Articulator_{width}x.jpg?v=1717727090)
Antares Articulator - Digital Talk Box
Regular price $79.00 Save $-79.00Digital Talk Box
Articulator is a modern digital version of the classic talk box, made famous on recordings by artists like Peter Frampton, Zapp, and Bon Jovi. Perfect for talking guitars, singing synths, and a wide range of special effects.
Introducing Articulator
Produce the authentic talk box effect—without putting a tube in your mouth.
The Sound of Information
Extract the formant and amplitude information from a vocal track and apply it to another audio track or to its built-in noise generator in real time.
Sculpt Your Voice
The built-in EQ features a formant modulation section that lets you sculpt your vocal sound using our throat modeling technology.
Effect Control
Amplitude modulation control lets you dial in exactly how much of the effect you want on your track.
Key Features
- Get the classic talk box sound
- Formant and amplitude control
- Built-in noise generator
- Throat-modeling technology
- Amplitude modulation control
![Antares Aspire - Aspiration Noise Processor](http://opticecho.myshopify.com/cdn/shop/files/Aspire_{width}x.jpg?v=1717727089)
Antares Aspire - Aspiration Noise Processor
Regular price $69.00 Save $-69.00Aspiration Noise Processor
Aspire is the world's first tool for modifying a voice's breathiness independently of its harmonic content. With Aspire, you can match a vocal quality to a performance style by decreasing or increasing a voice's natural breathiness.
Introducing Aspire
Manipulate aspiration noise to produce breathtaking vocals.
Control Your Breathing
Whether reducing vocal rasp or adding a bit of smokiness, Aspire allows modification of the amount and quality of a voice’s breathiness—without affecting the vocal’s harmonic characteristics.
Fine-Tune the Noise
Aspire analyzes a vocal in real time and separates the aspiration noise (breathiness) from the harmonic content. It then allows you to adjust the amount of aspiration noise, and affect its character independently by applying a parametric EQ to the noise component.
Real-Time Analysis
Its real-time display lets you visualize the effect of the aspiration noise processing.
Key Features
- Modify “breathiness” independently of harmonic content
- Explore vocal qualities to match performance styles
- Fine-tune aspiration noise with parametric EQ
- Real-time effect visualization
- Seamless integration with Auto-Tune Unlimited
![Antares Auto-Key 2 - Automatic Key and Scale Detection](http://opticecho.myshopify.com/cdn/shop/files/Auto-Key2_{width}x.jpg?v=1717727082)
Antares Auto-Key 2 - Automatic Key and Scale Detection
Regular price $49.00 Save $-49.00Auto-Key 2 is the automatic key, scale, and tempo detection plug-in which easily identifies primary musical properties to assist music creators and speed their workflows.
Effortless Analysis
Scan your music in real-time and detect key, scale, and tempo information automatically from any audio file.Drop It Like It’s Hot
Drag and drop audio files directly into Auto-Key 2 for easy detection of key, scale, and tempo information across all Auto-Tune plug-ins.Direct to Auto-Tune
Click the “Send to Auto-Tune” button, and compatible versions of Auto-Tune are automatically updated with the correct key and scale settings.Automatically Stay in Key
Automate key changes to compatible Auto-Tune plug-ins in your session to ensure all Auto-Tune plug-ins stay in key with your song.Key Features
- Automatic Key, Scale, and Tempo Detection
- Drag-and-Drop Audio Files (MP3, WAV, FLAC, AIFF)
- Send Key and Scale Changes Directly to Auto-Tune
- Resizable UI With Light and Dark Modes
- Automated Key Changes
![Antares Auto-Tune Access 10 with 1 Year Auto-Tune Essentials](http://opticecho.myshopify.com/cdn/shop/files/Auto-TuneAccess10_{width}x.jpg?v=1717727083)
Antares Auto-Tune Access 10 with 1 Year Auto-Tune Essentials
Regular price $49.00 Save $-49.00Auto-Tune Access 10 puts authentic Auto-Tune capabilities within reach of everyone.
New Auto-Tune Access 10 Updates
- RESIZABLE GUI AND IMPROVED KEYBOARD LAYOUT
- LIGHT AND DARK MODES
- IMPROVED AUTO-KEY 2 INTEGRATION
- REAL-TIME AUDIBLE NOTE TRIGGERING
Introducing Auto-Tune Access 10
As our most affordable and easiest-to-use Auto-Tune edition, Auto-Tune Access 10 puts the ability to produce exceptional vocals within anyone’s reachNatural to Extreme
Two on-screen preset buttons make it easy to switch from natural-sounding pitch correction to creating the most extreme Auto-Tune Effect.Real-Time Performance
Low-latency processing and a light CPU footprint lets you perform through Auto-Tune Access 10 in real time on stage or in the studio without worrying about distracting delay.Automatic, Chromatic
Improved Auto-Key 2 integration supports chromatic scale broadcast to make it easy to stay in key for any project. (Auto-Key 2 sold separately)Key Features
- The easiest, most affordable way to use Auto-Tune
- Authentic Auto-Tune core features
- Natural to extreme pitch correction
- Low latency for real-time performance
- The Auto-Tune Effect
- Simple, intuitive interface
![Antares Auto-Tune Artist - Low-Latency Pitch-Correction/Effects](http://opticecho.myshopify.com/cdn/shop/files/Auto-TuneArtist_{width}x.jpg?v=1717727082)
Antares Auto-Tune Artist - Low-Latency Pitch-Correction/Effects
Regular price $349.00 Save $-349.00Optimized for Real-Time Tracking and Live Performance
Auto-Tune Artist meets the demanding needs of working musicians, producers, and live sound engineers. It includes all of the advanced real-time pitch correction features of Auto-Tune Pro, and is optimized for low latency performance on stage or in the studio.
Ease of Use
Packed with powerful new features and enhancements, starting with a sleek interface designed for optimal workflow. The Basic and Advanced views help you find the tools you need, when you need them.
Sound Changes
Leverage Flex-Tune for more natural and transparent pitch correction, Classic Mode for the "Auto-Tune 5 sound," and Transpose for real-time pitch shifting.
Find the Key
Compatibility with the Auto-Key plug-in (sold separately) means never having to worry about finding the key of your music before tuning. Auto-Key detects the key and scale and sends that information to Auto-Tune with a single click.
You Have Control
Use Humanize to preserve subtle pitch variations on sustained notes, automatic Formant correction, adjustable Throat modeling, real-time MIDI control, and advanced Vibrato controls.
Key Features
- Easy-to-use interface for optimal workflow
- Flex-Tune, Classic Mode, and Transpose
- Humanize, Formant correction, and Throat modeling
- Real-Time MIDI control and advanced Vibrato control
- Compatible with Auto-Key
![Antares Auto-Tune EFX+ 10 with 1-Year of Auto-Tune Producer](http://opticecho.myshopify.com/cdn/shop/files/Auto-TuneEFXPlus10_{width}x.jpg?v=1717729004)
Antares Auto-Tune EFX+ 10 with 1-Year of Auto-Tune Producer
Regular price $229.00 Save $-229.00
Auto-Tune EFX+ 10 combines the core features of Auto-Tune with the powerful EFX modular multi-effects rack.
New Auto-Tune EFX+ 10 Updates
- SEVEN NEW EFFECTS (Breath, Reverb, Echo, Chorus, Compress, Lowpass, EQ)
- FOUR NEW REORDERABLE MODULAR EFX SLOTS
- NEW PRESETS FROM TOP ARTISTS
- REFRESHED USER INTERFACE
Introducing Auto-Tune EFX+ 10
The most creative edition of the most iconic vocal effect ever has evolved. Auto-Tune EFX+ 10 is a proven vocal effects powerhouse designed to generate inspiration.Endless Effects
Built-in modular multi-effects rack and versatile melodic motion generator means endless creative choices.Real-Time Pitch Correction
Professional-quality Auto-Tune pitch correction with low latency processing for real-time performance.Artist Presets
Custom creative presets from innovative artists make it easy to get started.Key Features
- Core Auto-Tune Features
- Powerful EFX Multi-Effects Rack
- Auto-Motion Pitch Shifting Melodic Pattern Generator
- Professional Quality Auto-Tune Pitch Correction
- Low Latency Processing
![Antares Auto-Tune Essentials Annual Subscription](http://opticecho.myshopify.com/cdn/shop/files/Auto-TuneEssentials_{width}x.jpg?v=1717724676)
Antares Auto-Tune Essentials Annual Subscription
Regular price $24.99 Save $-24.99Producing vocals that sound like hits is easy with Auto-Tune Essentials. Explore the curated collection of vocal plug-ins that are streamlined for beginners and affordable for everyone.
Introducing Auto-Tune Essentials
Learn how to start producing professional-quality vocals at home with the suite of vocal effects designed to help anyone express their best voice.Just What You Needed
Keep it simple with a curated collection of effects that deliver the least complicated way to craft perfectly polished vocals.Sharpen Your Skills
Take your production skills to the next level with easy-to-follow tutorials from leading educators.Pro-Studio Quality For Less
The most affordable way to get into Auto-Tune, the most essential vocal effect ever made.What’s Included With Auto-Tune Essentials
Auto-Tune Essentials delivers a suite of creative tools curated for home studio producers and vocalists.
- Auto-Tune Access 10
-
Auto-Key 2
- Mic Mod
- Duo
Key Features
- Industry Standard Pitch Correction
- The Iconic “Auto-Tune Effect”
- Designed For Simplicity
- Step-by-step tutorials
- Free tech support
![Antares Auto-Tune Hybrid - Real-Time Auto-Tune for AVID DSP Systems](http://opticecho.myshopify.com/cdn/shop/files/Hybrid_{width}x.jpg?v=1717727083)
Antares Auto-Tune Hybrid - Real-Time Auto-Tune for AVID DSP Systems
Regular price $459.00 Save $-459.00For Avid DSP Systems
Auto-Tune Hybrid is the ultimate real-time tuning solution for Pro Tools and Avid DSP hardware, including Carbon interfaces, HDX systems, and VENUE | S6L live sound systems.
DSP Friendly
Auto-Tune Hybrid is specially designed for Avid’s Hybrid Engine technology, so you can move seamlessly between DSP and native processing in Pro Tools when recording, editing, and mixing. Record with DSP power for near zero latency monitoring, then switch over to native processing and take your sessions on the road.
The Auto-Tune 5 Sound
Auto-Tune Hybrid also includes Classic Mode, delivering the iconic “Auto-Tune 5 sound” that’s essential for modern hip hop production, plus real-time MIDI Control, and advanced Vibrato Controls. Flex-Tune offers more transparent and natural-sounding tuning, and Humanize preserves subtle pitch variations on sustained notes.
A View To A Tool
Basic and Advanced views help you find the tools you need, when you need them. Stick with Basic View for streamlined access to the most commonly used controls, or pop over to Advanced View to unlock powerful MIDI, vibrato, and custom scale features.
Lightweight Speed
Whether performing on stage or tracking real-time in the studio, Auto-Tune Hybrid gives you professional quality tuning and effects, delivered with lightning-fast performance, all without taxing your computer’s CPU.
Key Features
- Specially designed for Avid’s Hybrid Engine technology
- The iconic "Auto-Tune 5 sound"
- Real-time MIDI control
- Advanced vibrato control
- Flex-Tune for natural-sounding tuning
- Humanize function for pitch variations
![Antares Auto-Tune Pro X](http://opticecho.myshopify.com/cdn/shop/files/Auto-TunePro_{width}x.jpg?v=1717757489)
Antares Auto-Tune Pro X
Regular price $459.00 Save $-459.00The Professional Standard for Pitch Correction
Auto-Tune Pro X is the most advanced Auto-Tune edition ever. It includes a redesigned Graph Mode for detailed pitch and time editing, Auto Mode for real-time correction and effects, and runs natively on Apple Silicon.
Introducing Auto-Tune Pro X
The new Auto-Tune Pro X has reset the standard for professional-grade vocal pitch correction. From precision tuning to creative overhauls, Auto-Tune Pro X brings the power you need to every session.
Automatic & Precise
Streamlined Graph Mode provides extremely precise pitch correction capabilities and Auto Mode delivers powerfully easy real-time editing.
Artist Presets and Presets Manager
An exclusive collection of artist presets and a new Presets Manager to fast-track creativity.
Apple Silicon Native
Native support for Apple Silicon processors enables faster performance and increased plug-in efficiency on the latest Apple hardware.
See More, Do More
Multi-View lets you quickly switch between separate Auto-Tune tracks in a single window to edit multiple vocals, faster.
Key Features
- Completely redesigned and improved
- Advanced Graph Mode
- Apple Silicon Native
- Artist presets and a new Presets Manager
- New Multi-View workspace
![Antares Auto-Tune Producer 2-Month License](http://opticecho.myshopify.com/cdn/shop/files/Producer_b8a57c2f-b461-4410-adc6-2b825ccf9014_{width}x.jpg?v=1717724673)
Antares Auto-Tune Producer 2-Month License
Regular price $27.98 Save $-27.98Auto-Tune Producer delivers a suite of creative tools curated especially for home studio producers and vocalists ready to take their music to the next level.
Introducing Auto-Tune Producer
Discover the collection of our most creative effects for producing professional quality music from anywhere you are.Magic Happens Here
Turn your home studio into a hit factory with many of the same vocal production tools the world’s leading producers rely on in professional studios.Inspiration Included
Vocal sampling, innovative creative effects, and authentic Auto-Tune pitch correction are all here to help you generate new musical ideas from scratch.Knowledge is Power
With access to informative tutorials and free technical support, you’ll have the knowledge you need to start creating new music quickly and easily.What’s Included With Auto-Tune Producer
Auto-Tune EFX+ 10 combines the core features of Auto-Tune with the powerful EFX modular multi-effects rack.
Auto-Tune Access 10
Auto-Tune Access 10 puts authentic Auto-Tune capabilities within reach of everyone.
Auto-Tune Vocal EQ
Engineered specifically for vocals, Auto-Tune Vocal EQ isolates and accentuates precise frequencies to make vocals sound smoother and shine in the mix.
Key Features
- Industry Standard Pitch Correction
- Classic Auto-Tune Effect
- Works with all major DAWs
- Step-by-step tutorials
- Curated creative tools
- Free tech support
![Antares Auto-Tune Producer Annual Subscription](http://opticecho.myshopify.com/cdn/shop/files/Producer_ede8cd0b-4add-442e-82cf-a5495d64558e_{width}x.jpg?v=1717724673)
Antares Auto-Tune Producer Annual Subscription
Regular price $99.00 Save $-99.00Auto-Tune Producer delivers a suite of creative tools curated especially for home studio producers and vocalists ready to take their music to the next level.
Introducing Auto-Tune Producer
Discover the collection of our most creative effects for producing professional quality music from anywhere you are.Magic Happens Here
Turn your home studio into a hit factory with many of the same vocal production tools the world’s leading producers rely on in professional studios.Inspiration Included
Vocal sampling, innovative creative effects, and authentic Auto-Tune pitch correction are all here to help you generate new musical ideas from scratch.Knowledge is Power
With access to informative tutorials and free technical support, you’ll have the knowledge you need to start creating new music quickly and easily.What’s Included With Auto-Tune Producer
Auto-Tune EFX+ 10 combines the core features of Auto-Tune with the powerful EFX modular multi-effects rack.
Auto-Tune Access 10
Auto-Tune Access 10 puts authentic Auto-Tune capabilities within reach of everyone.
Auto-Tune Vocal EQ
Engineered specifically for vocals, Auto-Tune Vocal EQ isolates and accentuates precise frequencies to make vocals sound smoother and shine in the mix.
Key Features
- Industry Standard Pitch Correction
- Classic Auto-Tune Effect
- Works with all major DAWs
- Step-by-step tutorials
- Curated creative tools
- Free tech support
![Antares Auto-Tune Slice](http://opticecho.myshopify.com/cdn/shop/files/Slice_{width}x.jpg?v=1717724676)
Antares Auto-Tune Slice
Regular price $179.99 Save $-179.99A hybrid of a precision sampler and flexible synthesizer, Auto-Tune Slice is more than just a sampler. It’s a dimension of infinite musical expression where you can play voices like instruments and turn endless samples into songs.
Introducing Auto-Tune Slice
When everything becomes an instrument, anything is possible.Altered States of Sound
14 onboard effects including vintage analogue tube saturation, lush Chorus, mutative Ring Modulation, and Vocal Doubling enable endless possibilities for manipulating samples.Create With the Best
Explore a comprehensive and constantly updated library of exclusive vocal presets and samples from A-List producers and cutting-edge artists like Aaron Dessner (Taylor Swift, The National) and Bon Iver.Many Choices For Many Voices
Optimized for vocals—but equally powerful for beats and instruments—turn any sample into a playable instrument that automatically maps to your controller.Moving Music to Make Moving Music
Automagically slice up vocals with advanced transient detection that could only come from the creators of Auto-Tune. Play slices in order or rearrange them to create new phrases and patterns.
Key Features
- Precision vocal sampling instrument and flexible synthesizer hybrid
- Optimized for vocals, powerful for beats and instruments
- 14 onboard effects
- Advanced transient detection
- Constantly updated library of exclusive vocal presets
![Antares Auto-Tune Unlimited 2 month license](http://opticecho.myshopify.com/cdn/shop/files/Auto-TuneUnlimited_31b72005-d97e-4576-b183-064d22bfb606_{width}x.jpg?v=1717724678)
Antares Auto-Tune Unlimited 2 month license
Regular price $49.99 Save $-49.99The Ultimate Vocal Production Suite
The complete set of tools you need to make any vocal performance a perfect performance. Take your music to the next level and start producing vocals without limits.
Introducing Auto-Tune Unlimited
Auto-Tune Unlimited is the entire collection of Auto-Tune plug-ins and professional vocal effects in one place. From the new Auto-Tune Pro X to the legendary Auto-Tune Effect, Auto-Tune Unlimited is our most complete suite of vocal production software.
Professional Grade
The world’s leading producers, engineers, and artists rely on the advanced technology and continued innovation only available from the company who started it all.
Let’s Get Limitless
Constantly pushing boundaries and breaking the rules, we put the power of free automatic updates across the entire suite in the hands of tomorrow's legends.
Creative Together
From insightful tutorials from leading producers to the supportive cadre of technicians and artists working behind the scene, you are always in good company.
Get Every Edition of Auto-Tune
A subscription to Auto-Tune Unlimited includes every edition of Auto-Tune so you get the full force and functionality of the Auto-Tune experience.
Auto-Tune Pro X
Auto-Tune Pro X is the most advanced Auto-Tune edition ever. It includes a redesigned Graph-Mode for detailed pitch and time editing, Auto-Mode for real-time correction and effects, and it runs natively on Apple Silicon.
Auto-Tune Vocal Compressor
Assisted by machine learning, guided by artist presets, and powered by experimentation, the new Auto-Tune Vocal Compressor is the ultimate vocal compression chain.
Auto-Tune Artist
Auto-Tune Artist meets the demanding needs of working musicians, producers, and live sound engineers. It includes all of the advanced real-time pitch correction features of Auto-Tune Pro, and is optimized for low latency performance on stage or in the studio.
Auto-Tune EFX+ 10
Auto-Tune EFX+ 10 combines the core features of Auto-Tune with the powerful EFX modular multi-effects rack.
Auto-Tune Access 10
Auto-Tune Access 10 puts authentic Auto-Tune capabilities within reach of everyone.
Auto-Tune Vocal EQ
Engineered specifically for vocals, Auto-Tune Vocal EQ isolates and accentuates precise frequencies to make vocals sound smoother and shine in the mix.
Auto-Tune Slice
A hybrid of a precision sampler and flexible synthesizer, Auto-Tune Slice is more than just a sampler. It’s a dimension of infinite musical expression where you can play voices like instruments and turn endless samples into songs.
Auto-Tune Vocodist
Immediately recognizable, always unforgettable. Produce the unmistakable effect made famous on dancefloor bangers by Daft Punk and electro-pioneers Kraftwerk, 70’s rock classics by ELO, and many more.
Auto-Tune Hybrid
Auto-Tune Hybrid is the ultimate real-time tuning solution for Pro Tools and Avid DSP hardware, including Carbon interfaces, HDX systems, and VENUE | S6L live sound systems. It delivers the professional quality of Auto-Tune pitch correction and vocal effects, optimized for lightning fast, DSP powered performance. Also works on native Pro Tools systems.
Auto-Key 2
Auto-Key 2 is an automatic key and scale detection plug-in, designed to enhance your Auto-Tune workflow and save valuable time in the studio.
Get Every Vocal Effect
From the subtle to the extreme, you get all our creative and mixing vocal effects with a subscription to Auto-Tune Unlimited.
Articulator
Articulator is a modern digital version of the classic talk box, made famous on recordings by artists like Peter Frampton, Zapp, and Bon Jovi. Perfect for talking guitars, singing synths, and a wide range of special effects.
Aspire
Aspire is the world's first tool for modifying a voice's breathiness independently of its harmonic content. With Aspire, you can match a vocal quality to a performance style by decreasing or increasing a voice's natural breathiness.
Choir
Choir is a unique vocal processor that turns a single monophonic voice into a lush choir of 4, 8, 16, or 32 distinct individual unison voices, each with its own pitch, timing, and vibrato variations.
Duo
Duo is the easiest way to enhance vocals with a realistic doubled vocal part automatically generated from an existing vocal track.
Harmony Engine
Harmony Engine is a real-time harmony generating plug-in that lets you produce professional quality harmony arrangements from a single vocal or monophonic instrument track.
Mic Mod
Mic Mod is the microphone modeling tool that makes the mics you own sound like the mics you wish you owned.
Mutator
Mutator provides a combination of sound design tools for creating unusual and otherworldly voices. With high quality pitch shifting, throat modeling, ring modulator-based mutation, and a mind-bending tempo-synced alienize function, Mutator is the perfect tool for unique vocal effects, character design, and post-production sound design.
Punch
Give your vocals more dynamic impact to cut through the mix.
SoundSoap
Repair imperfect vocals, rescue “unusable” audio, and enhance tone and timbre across any project with the touch of a button.
Sybil
With Sybil, everything you need to get control of vocal sibilance is right at your fingertips.
Throat
Sculpt vocal qualities with an adjustable model of the human vocal tract.
Warm
Nothing warms up a vocal track (or pretty much any track) like being recorded through a high quality analog tube preamp. And thanks to Warm, you can add this tube warmth to every track in your mix. Key Features Industry Standard Pitch Correction Classic Auto-Tune Effect Works with all major DAWs Step-by-step tutorials
Key Features
- Industry Standard Pitch Correction
- Classic Auto-Tune Effect
- Works with all major DAWs
- Step-by-step tutorials
- Every vocal plug-in you want
- Free tech support
![Antares Auto-Tune Unlimited Annual Subscription](http://opticecho.myshopify.com/cdn/shop/files/Auto-TuneUnlimited_{width}x.jpg?v=1717724678)
Antares Auto-Tune Unlimited Annual Subscription
Regular price $179.99 Save $-179.99The Ultimate Vocal Production Suite
The complete set of tools you need to make any vocal performance a perfect performance. Take your music to the next level and start producing vocals without limits.
Introducing Auto-Tune Unlimited
Auto-Tune Unlimited is the entire collection of Auto-Tune plug-ins and professional vocal effects in one place. From the new Auto-Tune Pro X to the legendary Auto-Tune Effect, Auto-Tune Unlimited is our most complete suite of vocal production software.Professional Grade
The world’s leading producers, engineers, and artists rely on the advanced technology and continued innovation only available from the company who started it all.Let’s Get Limitless
Constantly pushing boundaries and breaking the rules, we put the power of free automatic updates across the entire suite in the hands of tomorrow's legends.Creative Together
From insightful tutorials from leading producers to the supportive cadre of technicians and artists working behind the scene, you are always in good company.Get Every Edition of Auto-Tune
A subscription to Auto-Tune Unlimited includes every edition of Auto-Tune so you get the full force and functionality of the Auto-Tune experience.
Auto-Tune Pro X
Auto-Tune Pro X is the most advanced Auto-Tune edition ever. It includes a redesigned Graph-Mode for detailed pitch and time editing, Auto-Mode for real-time correction and effects, and it runs natively on Apple Silicon.
Auto-Tune Vocal Compressor
Assisted by machine learning, guided by artist presets, and powered by experimentation, the new Auto-Tune Vocal Compressor is the ultimate vocal compression chain.
Auto-Tune Artist
Auto-Tune Artist meets the demanding needs of working musicians, producers, and live sound engineers. It includes all of the advanced real-time pitch correction features of Auto-Tune Pro, and is optimized for low latency performance on stage or in the studio.
Auto-Tune EFX+ 10
Auto-Tune EFX+ 10 combines the core features of Auto-Tune with the powerful EFX modular multi-effects rack.
Auto-Tune Access 10
Auto-Tune Access 10 puts authentic Auto-Tune capabilities within reach of everyone.
Auto-Tune Vocal EQ
Engineered specifically for vocals, Auto-Tune Vocal EQ isolates and accentuates precise frequencies to make vocals sound smoother and shine in the mix.
Auto-Tune Slice
A hybrid of a precision sampler and flexible synthesizer, Auto-Tune Slice is more than just a sampler. It’s a dimension of infinite musical expression where you can play voices like instruments and turn endless samples into songs.
Auto-Tune Vocodist
Immediately recognizable, always unforgettable. Produce the unmistakable effect made famous on dancefloor bangers by Daft Punk and electro-pioneers Kraftwerk, 70’s rock classics by ELO, and many more.
Auto-Tune Hybrid
Auto-Tune Hybrid is the ultimate real-time tuning solution for Pro Tools and Avid DSP hardware, including Carbon interfaces, HDX systems, and VENUE | S6L live sound systems. It delivers the professional quality of Auto-Tune pitch correction and vocal effects, optimized for lightning fast, DSP powered performance. Also works on native Pro Tools systems.
Auto-Key 2
Auto-Key 2 is an automatic key and scale detection plug-in, designed to enhance your Auto-Tune workflow and save valuable time in the studio.
Get Every Vocal Effect
From the subtle to the extreme, you get all our creative and mixing vocal effects with a subscription to Auto-Tune Unlimited.
Articulator
Articulator is a modern digital version of the classic talk box, made famous on recordings by artists like Peter Frampton, Zapp, and Bon Jovi. Perfect for talking guitars, singing synths, and a wide range of special effects.
Aspire
Aspire is the world's first tool for modifying a voice's breathiness independently of its harmonic content. With Aspire, you can match a vocal quality to a performance style by decreasing or increasing a voice's natural breathiness.
Choir
Choir is a unique vocal processor that turns a single monophonic voice into a lush choir of 4, 8, 16, or 32 distinct individual unison voices, each with its own pitch, timing, and vibrato variations.
Duo
Duo is the easiest way to enhance vocals with a realistic doubled vocal part automatically generated from an existing vocal track.
Harmony Engine
Harmony Engine is a real-time harmony generating plug-in that lets you produce professional quality harmony arrangements from a single vocal or monophonic instrument track.
Mic Mod
Mic Mod is the microphone modeling tool that makes the mics you own sound like the mics you wish you owned.
Mutator
Mutator provides a combination of sound design tools for creating unusual and otherworldly voices. With high quality pitch shifting, throat modeling, ring modulator-based mutation, and a mind-bending tempo-synced alienize function, Mutator is the perfect tool for unique vocal effects, character design, and post-production sound design.
Punch
Give your vocals more dynamic impact to cut through the mix.
SoundSoap
Repair imperfect vocals, rescue “unusable” audio, and enhance tone and timbre across any project with the touch of a button.
Sybil
With Sybil, everything you need to get control of vocal sibilance is right at your fingertips.
Throat
Sculpt vocal qualities with an adjustable model of the human vocal tract.
Warm
Nothing warms up a vocal track (or pretty much any track) like being recorded through a high quality analog tube preamp. And thanks to Warm, you can add this tube warmth to every track in your mix. Key Features Industry Standard Pitch Correction Classic Auto-Tune Effect Works with all major DAWs Step-by-step tutorials
Key Features
- Industry Standard Pitch Correction
- Classic Auto-Tune Effect
- Works with all major DAWs
- Step-by-step tutorials
- Every vocal plug-in you want
- Free tech support
![Antares Auto-Tune Vocal Compressor](http://opticecho.myshopify.com/cdn/shop/files/Auto-TuneVocalCompressor_{width}x.jpg?v=1717724675)
Antares Auto-Tune Vocal Compressor
Regular price $179.00 Save $-179.00Auto-Tune Vocal Compressor combines the most popular vocal compression styles and controls into one powerful plug-in.
Introducing Auto-Tune Vocal Compressor
Auto-Tune Vocal Compressor is an advanced dual-stage compressor for modern vocal production. Key compression styles driven by next-generation machine learning make finding the best compression settings fast and easy.Dual-Stage Stack Attack!
Auto-Tune Vocal Compressor is the only vocal compressor plug-in with machine learning in the world supporting dual-stage configurations. Stack two fully featured and tweakable compressors together from four of the most popular styles (FET, Opto A, Opto B, and Modern), in any order to create the ultimate vocal compressor.Intelligent Compression
Using advanced machine learning technology, Auto-Tune Vocal Compressor analyzes your track and recommends the optimum starting point and compression levels to get the sound you want.Artist Presets From Industry Leaders
Compelling artist presets covering a wide range of vocal styles and moods to help jumpstart your creativity and make it easy to experiment with new ideas.Warm Up Your Audio
Apply the cozy vibe of tube saturation and harmonics to vocals across one or both compressors with the built-in Warm feature.Key Features
- Single- and Dual-Stage Modes
- Four Popular Compression Styles
- Machine Learning For Rapid Results
- Flexible Side-Chaining With Modern Style
- Step-By-Step Tutorials
- Compatible With All Major DAWs
![Antares Auto-Tune Vocal EQ](http://opticecho.myshopify.com/cdn/shop/files/Auto-TuneVocalEQ_{width}x.jpg?v=1717724676)
Antares Auto-Tune Vocal EQ
Regular price $179.99 Save $-179.99Engineered specifically for vocals, Auto-Tune Vocal EQ isolates and accentuates precise frequencies to make vocals sound smoother and shine in the mix.
Introducing Auto-Tune Vocal EQ
Dial in the optimum mix for maximum artistry.Pitch Metering
Watch a vocalist’s pitch move across the frequency spectrum in real-time to visualize range and thresholds.Pitch Tracking
Lock an EQ band to a vocalist’s pitch to focus on fundamental pitch or harmonics.Vocal Learning
Automatically determine input type and highlight the average vocal range (alto, tenor, soprano) for a quick start to EQing.
Key Features
- Six full parametric bands
- Low-Pass and High-Pass Filters
- Air Band
- Spectrum Analyzer
- Tilt EQ Filter
- Low Latency Processing
![Antares Auto-Tune Vocodist](http://opticecho.myshopify.com/cdn/shop/files/Auto-TuneVocodist_{width}x.jpg?v=1717724675)
Antares Auto-Tune Vocodist
Regular price $179.99 Save $-179.99Immediately recognizable, always unforgettable. Produce the unmistakable effect made famous on dancefloor bangers by Daft Punk, electro-pioneers Kraftwerk, 70's rock classics by ELO, and many more.
Introducing Auto-Tune Vocodist
Auto-Tune Vocodist delivers the legendary sound of vintage vocoders with the full force and flexibility of Auto-Tune built in.Create Like the Legends
This advanced vocoder plug-in includes models of all the classic vocoders you know and love. Plus, we built an extensive collection of artist presets featuring P-Thugg (Chromeo), producer Buddy Ross (Frank Ocean), electronic artist Rachel K. Collier, and more to jump-start your creativity.Easy to Use and Built for Speed
Auto-Tune Vocodist lets you control the pitch of your vocoded sound with your voice or your favorite MIDI keyboard. Designed for ease-of-use, a built-in 8-voice, dual oscillator synthesizer helps you start vocoding quickly and easily. Or use any external audio source via sidechain input and explore!Push it to the Limit
Customize the classic vocoder sound even further with built-in vocal effects. For extreme vocal mutations, explore otherworldly enhancements with analog tube saturation, lush choruses, and ring modulation.Auto-Tune Under the Hood
As the world’s only vocoder plug-in with Auto-Tune built-in, you can tune your vocals without ever leaving Vocodist. Dial it in for subtle results, or crank it up to combine the iconic Auto-Tune Effect with vocoder vibes to create your unique sound.Key Features
- The legendary sounds of classic vocoders
- Extensive collection of artists presets
- Built-in 8-voice dual-oscillator synthesizer
- Control vocoded sounds with MIDI keyboard
- Customize with built-in vocal effects
- Compatible with Auto-Key and Auto-Key Mobile
Antares AVOX Antares Vocal ToolKit
Regular price $399.00 Save $-399.00![Antares Choir - Vocal Multiplier](http://opticecho.myshopify.com/cdn/shop/files/Choir_{width}x.jpg?v=1717727075)
Antares Choir - Vocal Multiplier
Regular price $79.00 Save $-79.00Vocal Multiplier
Choir is a unique vocal processor that turns a single monophonic voice into a lush choir of 4, 8, 16, or 32 distinct individual unison voices, each with its own pitch, timing, and vibrato variations.
Introducing Choir
Produce dramatic and authentic sounding choral voices with Choir.
One To Many
Turn a single monophonic voice into a lush choir of 4, 8, 16, or 32 distinct individual unison voices, each with its own pitch, timing, and vibrato variations.
Pick A Number
Select the number of individual voices that will be generated from the original voice.
Dial In Your Sound
Control the amount of subtle variation applied to each of the generated voices with Vibrato Variation, Pitch Variation, and Timing Variation.
Key Features
- Turn a single voice into a chorus
- Control pitch, timing, and vibrato
- Choose choir size
- Stereo Spread control
![Antares Duo - Vocal Modeling Auto-Doubling](http://opticecho.myshopify.com/cdn/shop/files/Duo_{width}x.jpg?v=1717727075)
Antares Duo - Vocal Modeling Auto-Doubling
Regular price $79.00 Save $-79.00Automatic Vocal Doubler
The quickest, easiest way to create realistic vocal doubling.
Introducing Duo
Duo is the easiest way to enhance vocals with a realistic doubled vocal part automatically generated from an existing vocal track.
Hearing Double
Use Duo to give your vocal track twice the depth and presence through the subtle power of duplication.
Programmable Variation
Adjust vocal timbre to sound exactly like the lead vocal track or like someone else entirely.
Stereo Control
Independent control of the level and pan of the original and doubled voices lets you craft the perfect stereo mix.
Key Features
- Instant vocal doubling
- Generate from single track
- Adjustable timbre modeling
- Independent Level & Pan
- Stereo mix control
Antares Harmony Engine Evo - Vocal Modeling Harmony Generator
Regular price $289.00 Save $-289.00Automatic Vocal Harmony Generator
Harmony Engine is a real-time harmony generating plug-in that lets you produce professional quality harmony arrangements from a single vocal or monophonic instrument track.
Introducing Harmony Engine
Learn how Harmony Engine makes it easy to add lush harmonies to your vocal tracks.
Harmony of One
Produce professional-quality harmony arrangements from a single vocal or monophonic instrument track.
A Creative Chorus
Explore four high-quality harmony voices with independently adjustable vocal character, vibrato, and pan settings for realistic or extreme effects.
Handmade Harmonies
Meticulously craft your own vocal arrangement note-by-note, perform your harmonies with your MIDI controller, or simply choose the chords and let Harmony Engine do the rest.
Key Features
- Professional harmonies from a single source
- Four independently adjustable harmony voices
- Humanize control for natural-sounding performances
- Create vocal arrangements note-by-note or automatically
- Compatible with the Auto-Key plug-in and Auto-Key Mobile
![Antares Mic Mod - Classic Mic Modeler](http://opticecho.myshopify.com/cdn/shop/files/MicMod_{width}x.jpg?v=1717729004)
Antares Mic Mod - Classic Mic Modeler
Regular price $149.00 Save $-149.00Expand Your Mic Locker
Instantly expand your mic locker with over 100 different models of vintage mics from Neumann, Telefunken, AKG, and others plus a wide selection of modern boutique mics.*
Analog Reproduction
Introduce as much or as little of that classic analog saturation sound into your mic as you want.Croon Control
Manipulate each mic's specific range and options to maximize the subtle sonic characteristics that make each microphone unique.Key Features
- Digital models of over 100 legendary microphones
- Faithful reproductions of Neumann, AKG, and other classic mics
- Introduce analog-era warmth and saturation
- Fine controls for subtle variations
![Antares Mutator - Extreme Voice Designer](http://opticecho.myshopify.com/cdn/shop/files/Mutator_{width}x.jpg?v=1717727089)
Antares Mutator - Extreme Voice Designer
Regular price $79.00 Save $-79.00Extreme Voice Designer
Mutator provides a combination of sound design tools for creating unusual and otherworldly voices.
Introducing Mutator
Generate alien, monster, and other unearthly voices with the ultimate vocal character design plug-in.
Voices by Design
Use our unique throat modeling and pitch shifting technologies to craft the basic characteristics of your voice.
Let’s Get Weird
Transform and mangle any voice into a variety of strange creatures, with 24 different varieties of mutation created with pitch-tracking ring modulation and formant control.
Via UFO
Give your vocal track the quality of an alien language by chopping it up into small segments and playing each segment in reverse. You can even create your own unique language by varying the length of the speech segments, or syncing them to the tempo of your track.
Key Features
- Powerful sound design and post-production tools
- High quality pitch shifting and formant effects
- Ring modular-based mutation features 24 varieties
- Mind-bending, tempo-synched alienize function
- Unique vocal effects and character design capabilities
![Antares Punch - Vocal Impact Enhancer](http://opticecho.myshopify.com/cdn/shop/files/Punch_{width}x.jpg?v=1717727075)
Antares Punch - Vocal Impact Enhancer
Regular price $69.00 Save $-69.00Vocal Impact Enhancer
Give your vocals more dynamic impact to cut through the mix.
Introducing Punch
The fastest and easiest way to punch up any vocal track.
A Simple Dynamic
Punch provides a combination of compression, gain, limiting, and overload protection with an interface designed for speed and simplicity.
Rise Above
Using just a few controls, you can dial in the perfect vocal level for any mix in seconds.
Intuitive Power
Combining advanced dynamic processing with an intuitive interface, Punch makes your vocals cut through a dense mix with clarity and power.
Key Features
- Compression, gain, limiting, and overload protection
- Designed for speed and ease-of-use
- Advanced dynamic processing
- Intuitive interface
![Antares Sybil - Variable Frequency De-Esser](http://opticecho.myshopify.com/cdn/shop/files/Sybil_{width}x.jpg?v=1717727089)
Antares Sybil - Variable Frequency De-Esser
Regular price $69.00 Save $-69.00Variable Frequency De-Esser
Everything you need to get control of vocal sibilance is right at your fingertips.
Introducing Sybil
The essential plug-in for de-essing your vocal tracks.
Kicking out the Esses
Tame excessive vocal sibilance (ess, tsss, ch, and sh sounds), with a flexible compressor and a variable-frequency high-pass filter to ensure optimum de-essing for any vocal performance.
Keep it in Character
Designed to deliver maximum control over sibilance without altering the other characteristics of a vocal.
Controlling With Compressor
The compressor section includes Threshold, Ratio, Attack, and Release controls. And the High-Pass Frequency control lets you adjust which high frequency content will get compressed, to ensure that the sibilance is reduced while the rest of the voice remains pristine.
Key Features
- Flexible compressor
- Variable-frequency High-Pass Filter
- Threshold, Ratio, Attack, and Release controls
- Reduce sibilance while leaving vocals pristine
- Fast and easy-to-use
![Antares Throat - Physical Modeling Vocal Designer](http://opticecho.myshopify.com/cdn/shop/files/Throat_{width}x.jpg?v=1717727083)
Antares Throat - Physical Modeling Vocal Designer
Regular price $119.00 Save $-119.00Physical Modeling Voice Designer
Sculpt vocal qualities with an adjustable model of the human vocal tract.
Introducing Throat
Take control of the entire human vocal tract to create subtle modifications or vocal sounds that go well beyond the limits of human physical anatomy.
The Model Throat
Modify the voice’s glottal waveform or globally stretch, shorten, widen or constrict the modeled vocal tract to produce specific vocal characteristics.
Get Some Air
From a rough rasp to a smooth delivery, add variable frequency noise to give vocals any breath profile you want.
Pitch Shift
Go low or take things high and pitch shift a voice up or down as much as an octave to create a range of alternative vocal characters.
Key Features
- Complete model of the human vocal tract
- Subtle to extreme modifications
- Unprecedented manipulation of vocals
- Breathiness control
- Pitch shifting
![Antares Warm - Tube Saturation Generator](http://opticecho.myshopify.com/cdn/shop/files/Warm_{width}x.jpg?v=1717727090)
Antares Warm - Tube Saturation Generator
Regular price $79.00 Sale price $69.00 Save $10.00Analog Tube Saturation Emulator
Nothing warms up a vocal track (or pretty much any track) like being recorded through a high quality analog tube preamp.
Introducing Warm
Discover the effect that delivers authentic analog sound in a digital world.
Bring Up the Heat
Generate the warming effects of classic tube saturation. While optimized for adding warmth to vocals, it sounds just as good on guitar, horns, strings, synth pads, or pretty much anything.
Distortion Goes Deep
Crunch tube gives you the deep, warm distortion of an overdriven tube amplifier. You can crank it up for an “industrial” vocal sound, or as an effect on guitar, bass, or synths.
Saturate Everything
Warm’s unique Omni Tube feature lets you apply tube saturation to the entire signal, instead of just the transients, as is typically the case with a tube preamp.
Apply Liberally
And since Warm is extremely DSP efficient, you can use it on an almost unlimited number of tracks simultaneously. Once you start using Warm, you’re going to want it on almost everything.
Key Features
- The warmth of classic tube saturation
- Adds warmth to vocals or instruments
- Produce the deep distortion of an overdriven amplifier
- Saturate the entire signal, not just the transients
- Extremely DSP efficient
Antelope Audio 10MX | 768 kHz Rubidium Reference Master Clock
Regular price $6,995.00 Save $-6,995.0010MX features the atomic precision of 10M and Trinity's groundbreaking jitter management algorithm
10MX is the newest and the premier member of the Isochrone family. It features technologies from two of Antelope's legendary products. The atomic precision of the 10M and the sophisticated jitter-management algorithm of Trinity are combined in a futuristic, 1U rack space enclosure, providing the world's most stable and musical clocking.
10MX is a fusion of proven technologies and contemporary industrial design, where no compromises are allowed and both build-quality, and performance-excellence are top priority. The new Rubidium Atomic Clock is an epiphany of more than 20 years' expertise in the digital audio world, making vividly real the clarity, depth, width and 3-dimensionality distinctive of the analog sound.
10mx features:
4 WORD CLOCKS
The master clock beast: 4 Word Clocks allowing up to 768 kHz
64-BIT ACOUSTICALLY FOCUSED CLOCKING
Flawless clocking powered by Antelope Audio's world-renowned jitter management algorithm
MULTIPLE ATOMIC OUTPUTS
The 10MX's multiple atomic outputs allow up to 10 devices to be simultaneously clocked
ADDITIONAL OUTPUTS
2 x S/PDIF and 2 x AES/EBU master clocking outputs up to 192 kHz
MAXIMUM CONTROL
Intuitive Software Control Panel
PC/MAC CONNECTION
PC/Mac connection via USB, allowing remote control and firmware upgrades
ATOMIC CLOCKING
10MX fits any studio environment - from recording to mixing and mastering
10MX is perfectly suited for recording, mixing and mastering environments. Its form factor, occupying only 1U of rack space, makes it ideal for live sound application where rack slots are precious commodity.
The multiple atomic outputs allow up to 10 devices to be clocked simultaneously over BNC outputs of 10MHz. The unit can also be used as a master clock with 4 outputs, supporting the outstanding sampling rate of up to 768 kHz via BNC. Two more clocking outputs are available via AES and two via S/PDIF.
ADVANCED CONTROL
Access all features of 10MX via its user-friendly software app or from the sleek front panel
The new Rubidium Atomic Clock is equally easy manageable either from the front panel or the intuitive software control panel available for OS X and Windows, connecting via a USB port.
THE LEGEND GROWS
The 10MX continues the legacy of the world renowned 10M and Trinity
The new Rubidium Atomic Clock is an epiphany of more than 20 years' expertise in the digital audio world, making vividly real the clarity, depth, width and 3-dimensional distinctive of the analog sound.
SPECIFICATIONS:
Phase Noise (SSB)
1Hz ≤-70 dBc/Hz
10Hz ≤-87 dBc/Hz
100Hz ≤-114 dBc/Hz
1kHz ≤-130 dBc/Hz
10kHz ≤-140 dBc/Hz
Short-Term Stability
t=1s ≤3E-11
t=10s ≤1.6E-11
t=100s ≤8E-12
Time drift in a 24-hr period:
Warm-Up Time
8 - 10 minutes (depends on ambient temperature)
Word Clock Input
1 x Word Clock Input @ 75 Ohms 3Vpp on BNC 44.1 - 384kHz
Maximum shock
withstanding
Non-operating, flight case mounted:
100m/s2 (~10.2 g*), 11 msec half-sine pulse per IEC 60068-2-27:2008
Non-operating, in original packing:
300m/s2 (~30.6 g*), 5 msec half-sine pulse per IEC 60068-2-27:2008
* g - gravitational acceleration
Outputs
Word Clock: 4 x BNC
AES/EBU: 2 x XLR
S/PDIF: 2 x RCA
Word Clock Outputs
4 x Word Clock Outputs @ 75 Ohms 3Vpp on BNC 44.1 - 768 kHz square wave signal
USB I/O
USB 2.0 Hi-Speed; Data stream up to 480Mbits/384kHz, Type B
Clocking System
4th Generation Acoustically Focused Clocking
64-bit DDS
Oven Controlled Crystal Oscillator
Clock Stability
<+/-0.0 2 PPM, oven controlled at 64.5 °C
Atomic Reference Type
Rubidium Ultra-Stable Resonance-Controlled Master Oscillator
Frequency
10 MHz
Frequency Accuracy
Better than ±5E-11 @25C (±0.05 PPB)
Aging
Daily* ±2.5E-11
Monthly* ±1E-10
Yearly ±1E-9
(*After 1 day & 1 month of operation respectively)
Atomic Clock Outputs
10 x BNC Sinusoidal, 10MHz, 75 Ohm, 1Vpp typical (unload)
Sample Rates (kHz)
32, 44.1, 48, 88.2, 96, 176.4, 192, 352.8, 384, 768
Word Clock Specs
TTL Level, 75 Ohm Output Impedance
USB
USB 2.0 Full-Speed, Type B, only for control
Operating Temperature
0-50°C, 32-122°F
Weight
2.8 kg/6.17 lb
Dimensions
482.6 (W) х228 (D) х 44 (H) mm
19 (W) x 9 (D) x 1.73 (H) inch
Power Supply
AC
Power Consumption
15 W
Humidity
30 - 80% RH non-condensing
Power Supply Input
100 - 240 V~
System Requirements
Windows
OS: Windows 7/8/8.1/10
Disk Space: Minimum 512 MB available disk space
USB: 1x USB 2.0 Port
Required USB bandwidth (for firmware update): 80%-90%
CPU: Intel or AMD equivalent CPU with at least 2GHz operating frequency
Memory (RAM): 4GB Minimum (8GB or more Recommended)
MAC
OS X: 10.9/10.10/10.11/10.12 (Sierra Recommended)
Disk Space: Minimum 512 MB available disk space
USB: 1x USB 2.0/3.0 Port
Required USB bandwidth: 80%-90%
Memory(RAM): 4GB Minimum (8GB or more recommended)
CPU: Intel Core 2 Duo (Minimum) Intel Core i3 ™ or higher (Recommended)
Additional Info: Internet connection required for product activation.
Antelope Audio Amari | 2x6 Reference AD/DA Converter/USB 3.0 Audio Interface
Regular price $3,195.00 Save $-3,195.00Amari is a hi-end 384kHz PCM / DSD256 AD/DA Converter. Its majestic sound will suit mixing engineers, mastering gurus and the most dedicated audiophiles. The beautifully designed desktop unit is equipped with a slick touchscreen display. Amari offers 1 pair of Analog outs (either on XLR or TRS connectors), 1 pair of analog inputs (either on Combo XLR or RCA), and 2 high power headphone (HP) outputs with dedicated volume control and adjustable output impedance.
Key features:
•High-End 24-bit 384kHz for play back and recording
• A/D - Dual AK5578 ADC chips. Dynamic Range 128dB
• D/A -Eight CS43198 DAC chips. Dynamic range of 138dB
•DSD64, DSD128 and DSD256 formats supported (DSD over PCM a.k.a. DoP)playback
• 2 headphone outputs with dedicated volume control for each output with user-selectable output re-sistance (a.k.a. headphone membrane weight compensation) that can be switched to balanced mode.
• Standard and Balanced mode for Headphones
• 4th Generation 64-Bit Acoustically Focused Clocking.
• 10M Atomic Clock Input and Word Clock Input for better system integration and improved audio clarity
• 2 pairs of Analog Ins on combo XLR and RCA
• 2 pairs of Analog Outs on combo XLR and TRS
• AES/EBU, S/PDIF and TOSLINK I/O.
• Large touchscreen display to ease the advanced functions control and visualization
• USB 3.1 Connection for playback and recording.
• Software Control Panel for flexibility and advanced functionality both on MAC and PC.
•Stunning design
Love at first listen
Amari offers the signature Antelope Audio industry acclaimed clocking and best-in-class 384 kHz conversion. The unit comes with two analog output pairs on XLR and TRS. Two analog input pairs are available on the back panel, one on RCA and one on combo XLR. In addition Amari provides digital connectivity on USB, AES/EBU, S/PDIF and TOSLINK.
Incredible headphone control
Antelope Audio have always equipped their units with multiple headphone outs. Amari brings this to the next level. Its 2 headphone outputs feature individual volume control. Each output allows users to Select from 17 different values of driver's output impedance including negative values in order to enhance the listening experience.
Mastering-grade conversion
Amari employs the industry renowned Antelope Audio clocking technologies and the manufacturer's vast experience in analog circuitry and conversion. The mastering-grade audio interface offers 384 kHz, 24-bit conversion.
Top clocking
The desktop interface features the Acoustically Focused Clocking (AFC) jitter management technology pioneered by Antelope Audio's Fourth generation, 64-bit clocking allows a stable and precise sampling of any incoming audio signal. Amari is also equipped with an Atomic Clock input (fully 10MX compatible) for maximum stability. An additional Word Clock input is also available.
Flexible control set
The control set of Amari is distributed between dedicated fast-access knobs and buttons for the most frequent controls, the impressive touchscreen display and intuitive software control panel. The touchscreen is used for the more advanced functions and volume levels visualization.
For the audiophile market:
Design
Made of machined metal and finished in Black & Gold, Amari boasts the typical Antelope Audio design symmetry and sturdy build quality. It is beautiful without being distracting. It is premium, but not ostentatious. It looks equally as great in the studio as it does in your living room. The centerpiece is a slick full-color touchscreen that provides hands-on control and extensive metering. Next to it, the stepped rotary encoders and three function buttons allow for smooth and immediate control. Amari looks and feels just like it sounds - clean and precise.
Connectivity
The belief that analog and digital audio are meant to thrive together is embodied in every Antelope Audio product. Amari is no exception - its abundance of connectivity options means limitless flexibility! Two pairs of analog inputs (XLR and RCA) and outputs (XLR and TRS), two headphone amplifiers, digital ports (AES/EBU, S/PDIF, TOSLINK), Word Clock & Atomic Clock inputs offer vast integration possibilities.
Headphone Amplifiers
Amari features a pair of Stereo Headphone outs on ComboXLR connectors with a dedicated volume control knob. Output is capped at 1,4W max, with selectable output impedance from -4.6 to 85.3 Ohm available in 17 control steps. These options let you configure Amari for perfect compatibility with your favorite headphones for ultimate performance.
Amari's high-fidelity headphone driver chip offers fully differential input (per amplifier). It is a dual-amp design, optimized to eliminate possible temperature drifts and deliver the differential signal quality each listener deserves.
In standard mode the Headphone outputs use a single D/A Converter chip with two dedicated amps (one per channel) for unparalleled performance while in balanced mode (when both Headphone outputs are in use) the Headphone outs switch and deliver one dedicated D/A Converter chip and two amplifiers (one per channel) for each of the headphone drives (left and right) therefore eliminating any noise, increasing audio performance and delivering an expansive, full tone and more refined quality to your musics presentation.
DSD High-Resolution Audio Support
In addition to 24-bit/384kHz PCM audio playback, Amari supports DSD64, DSD128 and DSD256 over DoP formats. Enjoy clear, present digital audio at sample rates tens of times higher than that of CDs.
Software Control Panel
Easy and intuitive to use, the Amari Control Panel gives you control over each aspect of the unit. It also places the power of a unique and flexible routing system at your fingertips.
Exemplary Performance
For the ADC, we chose a digital low-pass filter with a short delay and sharp roll-off to achieve the lowest latency and widest bandwidth possible of 0.46 x fs, with pass-band ripple of +/-0.03 dB. Since the short delay filter only works on such a small number of samples (5) at a time, we have the shortest possible delay between the input and output stages, which greatly improves throughput.
As for the internal digital high-pass filter - we set its cutoff frequency to 1Hz in order to eliminate DC offsets and pass the cleanest audio signal possible.
We also take pride in Amari offering one of the lowest pass-band ripple figures (+/-0.03 dB) in the industry. The lower this figure, the more accurate sound reproduction is and the better a filter sounds.
The ADC chips we've selected are two AK5778 - that are well renowned both in the pro audio and in the hi-end world.
Top Class Conversion
The 2-channel ADC is configured for 8-to-1 operation - that is, there are 2A/D Converter chips per single analog input. This way, we achieve increased dynamic range and a significant 9dB improvement in signal-to-noise ratio (SNR). And with a maximum sample rate of 384kHz (apr: 2.6uS), Amari captures even the tiniest details in the audio signal with a resolution of 1.16nV.
Designed for audiophile and studio equipment, the 8x CS43198 DAC chips that we selected are well respected in the high-end community. They support sample rates of up to 384kHz (PCM) and operate at the same speed and resolution as the ADC. This made it possible for our engineers to achieve bit-perfect & sample-accurate playback, with the AD-DA pass-through rendered completely transparent. The final touch, is having the power to play back DSD formats up to DSD256 (via DoP) makes for complete and versatile DA conversion.
Fully Differential Driver Topology
Amari offers fully differential (balanced) driver topology for the combo XLR inputs. The coaxial routing from the RCA connector (coax. input) to the driver, transports clean, pristine signal directly to the same differential driver as the combo XLRs. The keyword is 'consistency!'
Likewise, Amari's analog output drivers are built upon of a low noise, low distortion, rail-to-rail output amplifier that boasts a 0.00006% (-124.5dB) THD (total harmonic distortion) and 3.3nV/√Hz noise. We specifically chose a dual-amp in a single chip package in order to enhance the differential PCB layout and maximize our symmetrical driver topology.
Fourth-Generation 64-bit Clocking
Amari takes full advantage of the renowned Antelope Audio Acoustically Focused Clocking (AFC) jitter management technology. Our fourth-generation 64-bit clocking facilitates the most precise sampling of analog signal, at sample rates of up to 384kHz and 24-bit depth. What's more, Amari offers an Atomic Clock input (fully 10MX compatible) and a Word Clock input, allowing you to enjoy our industry-leading clocking technology at its fullest potential.
Technical Specifications
Connectivity
Inputs
Analog
• 1x Stereo Pair balanced on ComboXLR 24dBu max input level
• 1x Stereo Pair unbalanced on RCA 8,2dBu / 6dBv max input level
Digital
• 1x AES/EBU up to 192 kHz
• 1x S/PDIF up to 192kHz
• 1x TOSLINK up to 96kHz
Sync
• 1x WC
• 1x Atomic
Outputs
Analog
• 1x Stereo Pair balanced on XLR. Output Level: 24dBu max, digital trim available
• 1x Stereo Pair balanced on TRS. Output Level: 18dBu max, digital trim available
• 2x Stereo Headphone outs on ComboXLR with individual volume control knobs. Output Power: 1,4 Watts max. Selectable output impedance from -4.6 to 85.3 Ohm available in 17 steps
• Headphone outputs are also configurable to drive 1 pair fully balanced headphone set with dedicated volume control
Digital
• 1x AES/EBU up to 192kHz
• 1x S/PDIF up to 192kHz
• 1x TOSLINK up to 96kHz
Bidirectional
• 1x USB 3.1 on Type-B connector up to 384kHz
Power
• DC Power Inlet with lock nut
AD Conversion
• 2x AK5778 A/D Converter chips
• 24 bit 384kHz
• Input: Full Differential Inputs
• S/(N+D): 112 dB (S/N: 124 dB)
• THD+N: -109dB
• Dynamic Range: 128dB
DA Conversion
• 8x CS43198 D/A Converter chips
• 24-bit 384kHz PCM / up to DSD2562 over PCM
• Dynamic Range: 138dB
• XLR: THD+N: -113dB, DNR: 137dB
• TRS: THD+N: -111dB, DNR: 135dB
Clocking
• 4th Generation 64-bit Acoustically focused clock technology
• Sample-rates supported:
AD and DA PCM: 32kHz, 44.1kHz, 48kHz, 88.2kHz, 96kHz, 176.4kHz, 352.8kHz, 192kHz, 384kHz
DA DSD: 64, 128, 256
Power supply:
• 18VDC / 0.83A
• Wall wart power supply unit (supplied)
In the box:
• Amari Hi-End Mastering-grade AD/DA Converter
• Quick start guide
• Warranty Card
• Cleaning Cloth
• USB 3.0 Cable
• Wart External Power Supply
Antelope Audio Atlas i8 - 3-way Active Studio Monitor
Regular price $2,495.00 Save $-2,495.00The Atlas i8 is a high-end studio monitor that synergizes Antelope Audio’s state-of-the-art clock and interface technologies with meticulous acoustical engineering to deliver unparalleled sound accuracy in any studio environment.
Featuring an isobaric configuration with two 8-inch woofers, a coaxial mid and high-frequency driver, and a custom Class-D 400W amplifier, the Atlas i8 delivers precise audio reproduction between 35 and 20 000 Hz with a maximum SPL of 117dB.
A custom digital processing system with FPGA chips enhances the performance, achieving a neutral frequency response and linear phase. The result is an accurate, pinpoint sound and a fatigue-free listening experience.The DSP also unlocks a handful of features that improve everyday studio life.
Isobaric
The Atlas i8 has two identical 8-inch woofers that are sealed in an isobaric configuration, one behind the other and moving together in sync. The air pressure caused by the first one is compensated by the movement of the second one, creating a sealed volume with an even pressure level. Usually, to get lower frequencies, one would need a bigger volume in the cabinet. Using this isobaric design allows a drastic reduction in cabinet volume without sacrificing low-end performance. The monitor can get as low as 35Hz without any boosts, ensuring minimal distortion and high sound pressure levels.
Calibration with FIR and IIR filters
To achieve flat and time-aligned frequency response a proprietary digital processing system has been developed to run inside FPGA chips with FIR and IIR filters, thus providing a deep and focused stereo image, precise transients and fatigue-free studio sessions. The Atlas i8 is calibrated during the manufacturing process and tested thoroughly to deliver optimal performance. The DSP enables a range of features, including configurations allowing the Atlas i8 to reach lower frequencies or apply a low-cut so the speaker works in a 2-way mode.
Antelope’s digital precision
Fundamental Antelope Audio technologies are integrated into the Atlas i8 studio monitor. Top quality AD/DA converters and proprietary 64-bit Acoustically Focused Clocking technology all run internally on a 192 kHz sample rate to ensure that no audio quality will be lost during conversion.
One-point source for the Mids and Highs
A coaxial design with mid frequency driver and a tweeter working together as a single point source deliver improved phase coherence and allow Atlas i8 to be positioned horizontally or vertically without any risk of comb filtering or dips across the upper-frequency spectrum.
Workflow enhancing features
The in-house developed digital signal processing system introduces a range of features that greatly enhance the studio experience. In addition to the analog XLR/TRS input, there is an AES digital in and out, enabling the possibility of daisy chaining two Atlas i8 speakers. Moreover, the digital connection bypasses interface conversions, effectively reducing unwanted artifacts.
The color display on the back of the Atlas i8 grants effortless access to various settings, including dim, mute, volume control, preset saving, EQ adjustments, and multiple speaker modes tailored to different work scenarios. To further enhance the stereo image and sound balance, delay offset settings allow to compensate for distance differences between the sweet spot of two or more monitors if necessary.
Additionally, a user-friendly software control panel* ensures easy access to all settings, keeping the user in the ideal listening position in front of the computer.
Meticulous cabinet design
The hand-assembled cabinet is 18mm (about 0.71 in) thick, providing a sturdy, vibration-free construction. To reduce resonance frequencies, extra ribs have been added at key positions inside the box. Its volume and bass reflex port have been calculated to perfectly match the characteristics and needs of the two 8-inch woofers in order to achieve optimal frequency and phase response. The front positioning of the bass reflex eliminates any limitations associated with close proximity to walls and corners. For those seeking versatile placement options, an optional mounting plate facilitates wall/ceiling installation, ideal for surround and Atmos setups.
A minimalistic visual approach with stylish black and vintage green colors adds the final touches to the Atlas i8 design.
Features
-
Isobaric design (2x8" woofers)
-
Digital calibration with FIR and IIR filters
-
Linear phase frequency response
-
Custom class-D amplifier
-
64-bit Acoustically Focused Clocking
-
High-quality AD/DA converters
-
Coaxial driver for mid & high frequencies
-
Color display with advanced settings menu
-
Parametric EQ
-
Delay offset
-
Preset management
-
18mm cabinet with extra reinforcement
-
Optional mounting plate
-
Vertical and horizontal positioning
-
Hand-built in EU
Technical specifications
-
Frequency range: 35 - 20 000 Hz
-
Max SPL: 117dB at 1 m
-
Amp wattage: 400W (200W low + 100W mid + 100W high)
-
Input connectors: Analog XLR/TRS; Digital AES/EBU
-
Output connectors: Digital AES/EBU
-
Driver sizes: LF: 2x8" isobaric, MF: 5,5", HF: 1,5" coaxial
-
Speaker configuration: Three-way
-
Active or passive: Active
-
AD/DA converter: 24-bit/ 192 kHz
-
Equalization: Digital parametric
-
Enclosure Type: Front ported
-
Monitor application: Near-field / Mid-field
-
Dimensions: W 292 mm, D 387 mm, H 500 mm
-
Weight: 24 kg
Dimensions
Device:
W: 29 cm (11.4 in); D: 38.7 cm (15.2 in); H: 50 cm (19.7 in); 24 kg (52.9 lbs)
Box:
W: 59.4 cm (23.4 in); D: 46.2 cm (18.2 in); H: 40.4 cm (15.9 in); 28 kg (61.7 lbs)
In-the-box Content
-
Atlas i8
-
Getting started guide/Guide to online User Manual
-
Power supply cable
-
USB Cable
Antelope Audio Axino Synergy Core
Regular price $399.00 Sale price $239.00 Save $160.00
ANTELOPE AUDIO’S ALL-IN-ONE RECORDING SOLUTION WITH ONBOARD MICROPHONE EMULATIONS AND SYNERGY CORE EFFECTS
Axino Synergy Core is a revolutionary recording system that combines a professional condenser microphone and an audio interface with advanced processing capabilities. With this singular device, artists and producers can record with incredible accuracy and process audio in real-time. It includes a collection of onboard Synergy Core effects and emulations of classic microphones to elevate your sound to a new level. With Antelope Audio’s acclaimed AD/DA conversion and AFC™ clocking technology, Axino Synergy Core is an essential audio production powerhouse for home studios, streaming channels, and mobile setups.
- Compact bus-powered USB device that combines a condenser microphone and an audio interface
- Large diaphragm capsule and gold-sputtered membrane for accurate sound capture
- 24-bit, 192 kHz AD/DA conversion powered by proprietary 64-bit AFC™ clocking technology
- 18 onboard microphone emulations via Antelope Audio’s unique Modeling Engine
- 10 onboard Synergy Core effects included + over 80 optional expansions available to purchase separately
- Real-time, low latency monitoring and effects processing
Sonically Accurate USB Condenser Microphone
Axino Synergy Core is a large diaphragm microphone designed to record the natural character and resonance of instruments and vocalists in great detail. The large gold-sputtered membrane offers low self-noise, while the cardioid pickup pattern minimizes background noise, enabling the microphone to capture any sound effortlessly. A hybrid amp design featuring Antelope Audio’s renowned Discrete preamp technology has been implemented to achieve a transparent, uncolored sound.
Your Own Virtual Mic Locker
The Axino Synergy Core uses Antelope Audio’s microphone Modeling Engine, which allows you to record with virtual recreations of classic microphones. It comes with 18 emulations of dynamic, tube, and FET condenser microphones to record and monitor in real-time. This system grants flexible workflow and the opportunity to experiment with different mic emulations to find the perfect sound.
Fully Optimized Audio Interface for Professional Results
The same cutting-edge technology from Antelope Audio’s top audio interfaces also powers the Axino Synergy Core. The combination of precise 64-bit AFC™ clocking and leading AD/DA conversion yields pristine audio quality at resolutions up to 24-bit / 192 kHz. To ensure high-fidelity audio reproduction, the headphone output has been equipped with a DAC chip delivering 124dB of headroom.
Expandable Synergy Core Effects Collection
Our proprietary Synergy Core platform unlocks access to a selection of real-time effects processed entirely on the onboard DSP & FPGA chips. The device comes bundled with 10 Synergy Core effects specially chosen to enrich any recording. Within the bundle you’ll get compressors, EQs, preamps and dynamic processors, perfect for achieving the ultimate radio-ready sound. In addition, over 80 analog-modeled effects are available to purchase from the Antelope Audio Software Store.
Flawless Performance for All
Axino Synergy Core is an intuitive system capable of handling streaming, playback, and recording at low-latency. This level of performance holds true for any application, including home recording, streaming and podcasting. The device is designed to propel workflow at multiple angles to allow creativity to take the lead. Whether you’re at home or on the road, Axino Synergy Core is the ultimate recording system that does it all.
Features
Sound Capture
- Large diaphragm capsule with gold-sputtered membrane and cardioid pickup pattern
- Class-leading 24-bit/192kHz AD/DA conversion with up to 124dB of headroom
- 64-bit AFC™ clocking technology delivering exceptional level of sonic detail
Connectivity & Controls
- Bus-powered USB 2.0 port carrying up to 4 input and 4 output channels in any popular DAW with custom macOS & Windows drivers
- Headphone output for direct monitoring, powered by a high-performance DAC chip
- Physical controls for mic gain and headphone volume
- -10dB pad, and high-pass filter hardware switches
Workflow-Enhancing Features
- Bus-powered microphone - no microphone preamplifier and audio interface required, powered by the USB connection
- <1ms latency for real-time monitoring with microphone emulations and Synergy Core effects
- Simplified I/O routing with pre-configured settings, allowing seamless recording and playback
- Quick access to presets complete with signal routing, level adjustments, and effects settings
- Loopback function for streaming
Real-Time Processing
- Onboard Modeling Engine for real-time microphone emulations
- 18 iconic microphone emulations included
- Onboard Synergy Core platform powered by DSP & FPGA chips
- 10 Synergy Core vocal-oriented effects included, over 80 expansions available as separate purchase
Included Synergy Core Effects
- VEQ-55A (3-Band EQ / HPF / LPF)
- BAE-1073 (3-Band EQ / HPF)
- BAE-1073MP (Mic / Line Preamp)
- FET-A76 (FET Compressor / Limiting Amplifier)
- OPTO 2A (Tube Optical Compressor / Limiter)
- GYRAF GYRATEC IX (Dual Tube Mic Preamp with HPF)
- MASTER DE-ESSER (De-Esser)
- POWERGATE (Noise Gate)
- POWEREX (Expander)
- AURAVERB (Reverb)
Included Mic Emulations
- Berlin 47 FT
- Berlin 47 TU
- Berlin 49T
- Berlin 57
- Berlin 67
- Berlin 87
- Berlin K86
- Berlin M103
- Berlin M251
- Berlin V563
- Hamburg 441
- Illinois 7B
- Illinois 57
- Minnesota 20
- Tokyo 800T
- Vienna 12
- Vienna 112
- Vienna 414
List of Emulations:
- Berlin 47 FT - by far the ultimate kick drum microphone, with large, full-bodied sound and unmatchable low-end that’s also suitable for bass cabinets.
- Berlin 47 TU - modeled after “the holy grail” of tube microphones, it’s suitable for any source and any application, but its glory is mostly due to its ability to capture vocals’ presence like no other microphone.
- Berlin 49T - a classic male-vocal microphone for effortless tube-warmth, whilst preserving musical presence.
- Berlin 57 - similar midrange warmth and velvety highs as its brothers the Berlin 47 and 67, but with a slightly less colored response.
- Berlin 67 - the perfect choice for the drum-overheads and other sharp instruments that might need softening.
- Berlin 87 - a classic on vocals and acoustic instruments that need extra brightness.
- Berlin K86 - emulation of a classic German small-diaphragm condenser microphone with broad usage - heard on snare drums, piano and vocals in many hit records.
- Berlin M103 - a great natural-sounding all-purpose studio microphone that offers less coloration than its brother the 87, but a bigger dynamic range.
- Berlin M251 - an all-time classic female-vocal microphone, heard on countless records by Tina Turner, Shania Twain, Bjork, and many other legends.
- Berlin V563 - offers natural warmth and smoothness, yet it adds another layer of presence and sheen on top.
- Hamburg 441 - the perfect choice for guitar cabinets and snares, able to capture detailed upper mids in high SPL applications without ever sounding harsh.
- Illinois 7B - its applications vary from kick drums, bass cabs, and vocals (both live and in the studio), but it's most well known as the “radio mic”, because of its ability to capture incredibly deep low-end on voice-overs and speech.
- Illinois 57 - one of the most recognizable all-purpose microphones ever build - often finding its place for close-miking drums or guitar cabs.
- Minnesota 20 - a familiar large and full low-end making it suitable for kick drums, bass cabs, and male vocals.
- Tokyo 800T - a classic hip-hop and pop large-diaphragm condenser mic that has become the favorite for Drake, Justin Bieber, and many other artists today.
- Vienna 12 – the original sits at the top of the dream-list for many pros, who consider it the holy grail of vocal and brass microphones.
- Vienna 112 - a staple of every live-room with a drum kit, with a tight low-end and plenty of attack.
- Vienna 414 - the ideal choice for drum overheads, acoustic instruments, and other airy sources.
List of Effects:
-
VEQ-55A (3-Band EQ / HPF / LPF) - modeled after a classic American EQ from the 60’s, the VEQ-55A helps you add desired color and emphasize all the tiny details.
-
BAE-1073 (3-Band EQ / HPF) - modeled after the actual hardware components which made the original a go-to for producers from the 70s. Try the accurate lows and crisp highs for yourself.
-
BAE-1073MP (Mic / Line Preamp) - the 1073 is one of the most famous mic preamps in the world and is largely responsible for the sound of the big rock hits of its time.
- FET-A76 (FET Compressor / Limiting Amplifier) - this analog-modeled effect captures all the nuances of a vintage FET compressor and is useful for its ability to add punch and presence to anything passing through its circuits.
-
OPTO 2A (Tube Optical Compressor / Limiter) - this compressor from the 50s is best heard on vocals due to its incredibly pleasant response to the human voice.
-
GYRAF GYRATEC IX (Dual Tube Mic Preamp with HPF) - part of the Gyraf Audio collection, the G9 is one of the most versatile and easy to control mic preamps in the Synergy Core library.
-
MASTER DE-ESSER (De-Esser) - the de-esser effect is extremely effective against any artifacts which might have occurred due to over-compression, improper miking or individual voice specifics.
- POWERGATE (Noise Gate) - PowerGate allows you to track audio from sources with unwanted background or ground noise. It will keep your sound free of any artifacts, such as bad resonances, bleeds from other sources, or excessive sustain.
-
POWEREX (Expander) - our in-house expander gives you more sound shaping options and extra control over the volume.
- AURAVERB (Reverb) - add ambience to your headphone mix and space to your recordings with our built-in digital reverb processor.
Technical Specifications
- Large diaphragm condenser microphone
- Single gold-sputtered membrane
- Diaphragm diameter: 34mm
- Polar pattern: Cardioid
- Frequency response: 20HZ ~ 20kHZ
- Self-noise: 17 dBA
- Headphone output DAC: High-Performance DAC with 124dB dynamic range
- Microphone ADC: 117dB dynamic range
- Max. SPL: 140dB (<1% THD @ 1kHz)
- Sensitivity: 34±3DB(at 1kHz 0dB=1v/pa)
- Power requirements: 5.0/500mA (USB Bus powered)
- USB connector: USB Type-B (USB 2.0 compatible)
- Headphone output: 1/8” (3.5 mm) stereo jack
- Color: Black matte
- Weight (mic body): 0.96 lbs (435 grams)
- Dimensions (mic body): 1.9" x 2.2" x 7.4" (50mm х 56mm х 188mm)
- Dimensions (packaging): 8.9" x 9.6" x 5.3" (225mm x 245mm x 135mm)
In-the-Box Content
- Axino Synergy Core
- Table stand
- Shockmount
- USB cable
- Quick start guide
Antelope Audio Discrete 4 Pro Synergy Core
Regular price $1,495.00 Sale price $995.00 Save $500.00
14x20 Thunderbolt 3 & USB 2.0 Audio Interface with Onboard Real-time Effects
The Discrete 4 Pro SC carries the heritage of Antelope Audio’s Discrete line and builds upon it with latest generation AD/DA converters and improved software features. With blazing-fast Thunderbolt 3 and USB 2.0, ultra-low latency performance, and even better effects processing capabilities, the audio interface caters to desktop setups and recording studios alike.
- High-fidelity conversion for detailed sound when recording and streaming audio, and 64-bit AFC™ clocking technology delivering spacious stereo image with distinct separation;
- Four Discrete console-grade 6-transistor preamps on combo XLR jacks for professional recordings. The combo jacks work as microphone/line inputs, and two of them are Hi-Z compatible;
- Four DC-coupled analog line outputs (TRS), a stereo monitor output (TRS), four independent headphone outputs (TRS), ADAT & S/PDIF I/O. All I/O can be used simultaneously;
- 37 Synergy Core analog-modeled effects included and over 60 available as optional expansions. Processed in real-time with imperceptible latency;
- Two routing options are available – standard routing that lets you select audio sources per channel via drop-down menu and virtual patch-bay allowing the execution of advanced input/output routing via drag and drop.
Professional sound quality
The quality A-D/D-A converters and clocking are the mainstay of any professional-sounding audio recording. The Discrete 4 Pro has been upgraded with latest generation converters reaching up to 130dB of headroom on the monitor DAC. As with all of Antelope Audio’s current generation interfaces, the proprietary 64-bit AFC™ clocking provides a new level of detail in your recordings and exceptional stereo image in audio playback.
Transparent is always better
Antelope Audio’s discrete preamp technology is a product of an extensive study of the greatest console preamps in recording history. Designed with a unique 6-transistor topology, the Discrete preamps result in maximum noise reduction and, most importantly, precise sound capture for most transparent recordings.
Advanced features for creative sessions
The virtual routing patch-bay on the Discrete 4 Pro streamlines the routing process, allowing you to route any signal source to any output. Apart from the intuitive routing, the software control panel allows you to create presets, quickly configure mixes with 4 fully independent 32-channel virtual mixers, and more.
With the enhanced processing, you can now add effects on any input source. Create different versions of the same recording with unique effect chains, print them all simultaneously, and even send them to all performers via the four independent headphone outputs. You want to keep everyone in the band happy, right?
Connectivity options of a rack-mount interface
The Discrete 4 Pro SC packs rich connectivity in a small package. Four mic/line inputs, two instrument inputs, four DC-coupled line outputs, a pair of monitor outputs, four headphone outputs, ADAT and S/PDIF I/O are at your disposal. For your computer connection, you have USB 2.0 & Thunderbolt 3 ports. All I/O is available at any time and can be used simultaneously.
Give spice to your recordings
The 37 effects included with Discrete 4 Pro are modeled after iconic studio equipment and can be applied in real-time. The extremely low latency is guaranteed by the option to monitor directly through the interface during tracking and recording. All analog-modeled compressors, EQs and preamps, are processed entirely inside the interface, putting zero load on your host CPU. The onboard Synergy Core processing power enables you to load effects on up to 16 channel strips – this is 4 times as many as the original Discrete 4 SC.
At any time, you can expand your collection by purchasing more analog-modeled effects such as Grove Hill's Liverpool, and 3rd party effects like Antares’ Auto-Tune.
Features
Conversion & Clocking
- Class-leading AD/DA conversion with up to 130dB of headroom.
- Recording, mixing and playback at up to 24-bit/192kHz.
- Proprietary 64-bit AFC™ (Acoustically Focused Clocking) technology & Jitter Management algorithm delivering increased sound width, separation, and detail.
Connectivity
- 4 × Discrete 6-transistor preamps with 65dB of gain for pristine recordings. All work as microphone/line and two are also Hi-Z inputs, on combo XLR jacks, and supply 48V of phantom power.
- Four DC-coupled analog output channels on TRS jacks.
- Thunderbolt™ 3 and USB 2.0 port with custom macOS & Windows drivers.
- Digitally expandable over ADAT, with up to 8 I/O channels available.
- Digitally expandable over S/PDIF, with up to 2 I/O channels available.
- Two word clock outputs letting you distribute the interface’s highly stable clock signal across your studio.
- Four independent stereo headphone outputs.
- Dedicated stereo monitor output over TRS.
Workflow-enhancing features
- Direct monitoring with Synergy Core effects, processed in real-time with imperceptible latency.
- Expanded routing capabilities - select audio sources per channel with a drop-down menu sequence or use of a virtual patch-bay.
- Customizable presets with signal routing, level adjustments, mixer and effects settings.
- Four independent mixers for the monitor and headphone outputs with adjustable levels, panning, stereo link and real-time effects.
- Front panel with main volume knob and buttons for hands-on control of core parameters.
- Option to work without being connected to a computer (standalone operation).
- Wireless control of software features from a separate computer connected to the same network.
Real-time effects processing
- Collection of 37 Synergy Core effects modeled after classic and rare analog outboard gear.
- Synergy Core proprietary onboard platform powered by 2 × DSP & 1 × FPGA chips for real-time effects processing with imperceptible latency.
- Modeling Engine allowing pairing with the Edge line of microphones for real-time use of vintage microphone emulations.
In-the-Box Content
- Discrete 4 Pro Synergy Core
- Quick start guide
- USB type-B to type-A cable
- External power supply unit
Note: Thunderbolt cable is not included.
Included Onboard Effects
Discrete 4 Pro Synergy Core comes with 37 effects included:
- 2 Preamps (Gyraf Gyratec IX, BA-31)
- 4 Equalizers (incl. VEQ-1A, VMEQ-5)
- 5 Compressors & Limiters (incl. Stay-Levin, FET-A76, VCA160)
- 22 Guitar Amps & Cabs (incl. Bluelux 1x12, Tube Guitar Amp)
- 2 Special Processing Effects (Expander, Noise Gate)
- 1 Reverb Effect (Auraverb)
- 1 Guitar Tuner (A-Tuner)
Full list of effects
- Gyraf Gyratec IX - Dual Tube Mic Preamp with HPF
- VCA160 - VCA Compressor / Limiter
- Stay-Levin - Vari-Mu Tube Compressor
- FET-A76 - FET Compressor / Limiting Amplifier
- VEQ-1A - 2-Band Tube EQ
- VMEQ-5 - 3-Band Tube Mid-Range EQ
- X903 - VCA Compressor / Limiter
- PowerFFC - Feed-Forward Compressor
- Clear Q - Parametric EQ
- Power EX - Expander
- VEQ-HLF - Tube 2-Band HPF / LPF
- Auraverb - Reverb
- BA-31 - Germanium Mic Preamp
- Power Gate - Noise Gate
- A-Tuner - Guitar Tuner
- Plexi 59 (UK) - Tube Guitar Amp
- Bass SuperTube VR - Tube Guitar Amp
- Darkface 65 (US) - Tube Guitar Amp
- Top30 (UK) Bright - Tube Guitar Amp
- Tweed Deluxe (US) - Tube Guitar Amp
- Overange 120 (UK) - Tube Guitar Amp
- BurnSphere (DE) Lead - Tube Guitar Amp
- Marcus II (US) Lead - Tube Guitar Amp
- Modern (US) CH3 - Tube Guitar Amp
- Rock 75 (UK) - Tube Guitar Amp
- Rock 22.10 (UK) - Tube Guitar Amp
- Darkface 65 2x12 - 2x12 Guitar Cabinet
- Top30 2x12 - 2x12 Guitar Cabinet
- Modern 4x12 - 4x12 Guitar Cabinet
- Green 2x12 - 2x12 Guitar Cabinet
- Vintage 4x12 - 4x12 Guitar Cabinet
- Green 4x12 - 4x12 Guitar Cabinet
- Caliper 50 1x10 - 1x10 Guitar Cabinet
- Bluelux 1x12 - 1x12 Guitar Cabinet
- Clst 1x12 - 1x12 Guitar Cabinet
- England 4x12 - 4x12 Guitar Cabinet
- Bass Tube 1x15 - 1x15 Guitar Cabinet
Technical Specifications
ANALOG
Analog Inputs
2 x Mic / Line Inputs
2 x Mic / Line / Hi-Z Inputs
Analog Outputs
1 x Monitor Out on TRS 1/4 Jacks, +20 dBu max
4 x Line Outs on TRS, +20 dBu max
4 x Stereo Headphone Outputs
Mic Preamp
EIN: -128 dBu (A-weighted)
Dynamic Range: -122 dB (A-weighted)
THD: -116 dB
Max input: +18 dBu
Max Gain: 65 dB
D/A Monitor Converter
Dynamic Range: 130 dB
THD + N: -115 dB
A/D Converter
Dynamic Range: 122 dB
THD + N: -116 dB
D/A Converters(Line Out)
Dynamic Range: 121 dB
THD + N: - 100dB
DC Coupled
DIGITAL
Digital Inputs
1 x ADAT (up to 8CH)
1 x S/PDIF
Digital Outputs
1 x ADAT (up to 8CH)
1 x S/PDIF
USB 2.0 I/O
USB 2.0 Type B connector
Thunderbolt
Thunderbolt 3 on USB - C connector
CLOCKING
Word Clock Outputs
2 x Outputs @ 75 Ohms 3Vpp on BNC 32 – 192kHz
Clocking System
4th Generation Acoustically Focused Clocking
64-bit DDS
Sample Rates (kHz)
44.1, 48, 88.2, 96, 176.4, 192
OTHER
Operating Temperature
0-50°C, 32-122°F
Weight (Approx)
1.7 kg/ 3.7 lbs
Dimensions (Approx)
Width: 261 mm / 10.2”
Height: 44 mm / 1.7”
Depth: 208 mm /8.2”
Power Consumption
15 Watts
Antelope Audio Discrete 8 Pro Synergy Core
Regular price $1,995.00 Sale price $1,295.00 Save $700.00
26x32 Thunderbolt 3 & USB 2.0 Audio Interface with Onboard Real-time Effects
The Discrete 8 Pro SC introduces Antelope Audio’s latest software features and allows studio owners, bands, and recording engineers to record with legendary sound quality. With blazing-fast Thunderbolt 3 and USB 2.0, ultra-low latency performance, and even better effects processing capabilities, the audio interface is worthy of carrying the name of the model that first introduced us to the Synergy Core technology.
- High-fidelity conversion for detailed sound when recording and streaming audio, and 64-bit AFC™ clocking technology delivering spacious stereo image with distinct separation;
- Eight Discrete console-grade 6-transistor preamps on combo XLR jacks for professional recordings. The combo jacks work as microphone/line inputs, and two of them are Hi-Z compatible;
- Eight DC-coupled analog output channels (D-Sub 25), two reamp outputs (TRS), ADAT & S/PDIF I/O. All I/O can be used simultaneously in real time;
- 37 Synergy Core analog-modeled effects included and over 60 available as optional expansions. Processed in real-time with imperceptible latency;
- Two routing options are available – standard routing that lets you switch audio sources per channel via drop-down menu and virtual patch-bay allowing the execution of advanced input/output routing via drag and drop.
Uncompromising A/D & D/A conversion and clocking
The A-D/D-A converters and signal clocking are at the heart of every studio. The Discrete 8 Pro has been upgraded with latest generation converters (up to 130dB of headroom) and Antelope Audio’s proprietary 64-bit AFC™ clocking. With the interface in your rack, you can experience a new level of detail in your recordings and enjoy wider soundstage for an exceptional stereo image in audio playback.
The key to transparent recordings
Antelope Audio’s discrete preamps topology is a descendant of the great console preamps of the time. Designed using a combination of transistors, the Discrete preamps result in maximum noise reduction and, most importantly, precise sound capture for most transparent recordings.
Extensive connectivity for your entire studio
The Discrete 8 Pro SC offers impressive analog and digital I/O in one rack space. Eight mic/line inputs, two instrument inputs, eight DC-coupled line outputs on D-Sub 25, two reamp outputs, a pair of monitor outputs, two headphone outputs, ADAT and S/PDIF I/O are at your disposal. For your computer connection, you have USB 2.0 & Thunderbolt 3 ports. All I/O is available at any time and can be used simultaneously without the need to change setups, making it easy to work on multiple sessions.
Push the FX processing further
The 37 effects coming with Discrete 8 Pro are modeled after iconic studio equipment and can be applied in real-time during monitoring, post-production, and live recording. The analog-modeled compressors, EQs and preamps, are processed with near zero latency entirely inside the interface, putting zero load on your host CPU. The onboard Synergy Core contains the processing power of a complex multi-rack setup which enables you to load effects on up to 16 channel strips – this is double the available channel strips compared to the original Discrete 8 SC.
At any time, you can expand your collection by purchasing more analog-modeled effects such as Grove Hill's Liverpool, and 3rd party effects like Antares’ Auto-Tune.
Expansive feature set
The virtual routing patch-bay on the Discrete 8 Pro streamlines the routing process and even adds creative possibilities. Apart from the intuitive routing, the software control panel allows you to create presets, quickly configure mixes, and more. With the enhanced processing, you can now add effects on every input source.
Features
Conversion & Clocking
- Class-leading AD/DA conversion with up to 130dB of headroom.
- Recording, mixing and playback at up to 24-bit/192kHz.
- Proprietary 64-bit AFC™ (Acoustically Focused Clocking) technology & Jitter Management algorithm delivering increased sound width, separation, and detail.
Connectivity
- 8 × Discrete 6-transistor preamps with 65dB of gain for pristine recordings. All work as microphone/line and two are also Hi-Z inputs, on combo XLR jacks, and supply 48V of phantom power.
- 8 × DC-coupled line outputs over D-Sub 25.
- Two reamp outputs on TRS ¼ jacks for further amp processing of guitar signal. They can also be used as an additional stereo monitor output - this allows you to have two pairs of monitor speakers playing together simultaneously.
- Thunderbolt™ 3 and USB 2.0 port with custom macOS & Windows drivers.
- Digitally expandable over ADAT I/O, with 16 channels available.
- Digitally expandable over S/PDIF I/O, with 2 channels available.
- Three word clock outputs letting you distribute the interface’s highly stable clock signal across your studio and a word clock input allowing you to sync the Discrete 8 Pro Synergy Core with other gear.
- Footswitch input that can be used as a single footswitch (on 1/4” TS jack) to control the dim function and a dual footswitch to control both the talkback and dim functions.
- Two stereo headphone outputs with separate gain control.
- Dedicated stereo monitor output over TRS.
Workflow-enhancing features
- Direct monitoring with Synergy Core effects, processed in real-time with imperceptible latency.
- Expanded routing capabilities - switch audio sources per channel based on a drop-down menu sequence or make use of a virtual routing matrix.
- Customizable presets with signal routing, level adjustments, mixer and effects settings.
- Customizable monitoring mixes with adjustable volume, pan and reverb.
- Easily accessible front-panel talkback with built-in microphone.
- Front panel with independent headphone and monitor volume knobs and buttons for sample rate configuration, and hands-on control of core parameters. Hardware relay-based gain knobs for each preamp, plus mode control (mic/line/Hi-Z) via push sequence.
- Option to work without being connected to a computer (standalone operation).
- Wireless control of software features from a separate computer connected to the same network.
Real-time effects processing
- Collection of 37 Synergy Core effects modeled after classic and rare analog outboard gear.
- Synergy Core proprietary onboard platform powered by 2 × DSP & 1 × FPGA chips for real-time effects processing with imperceptible latency.
- Modeling Engine allowing pairing with the Edge line of microphones for real-time use of vintage microphone emulations
In-the-Box Content
- Discrete 8 Pro Synergy Core
- Getting started guide
- USB 2.0 type-B cable
- External power supply unit
Note: Thunderbolt cable is not included.
Included Onboard Effects
Discrete 8 Pro Synergy Core comes with 37 effects included:
- 2 Preamps (Gyraf Gyratec IX, BA-31)
- 4 Equalizers (incl. VEQ-1A, VMEQ-5)
- 5 Compressors & Limiters (incl. Stay-Levin, FET-A76, VCA160)
- 22 Guitar Amps & Cabs (incl. Bluelux 1x12, Tube Guitar Amp)
- 2 Special Processing Effects (Expander, Noise Gate)
- 1 Reverb Effect (Auraverb)
- 1 Guitar Tuner (A-Tuner)
Full list of effects
- Gyraf Gyratec IX - Dual Tube Mic Preamp with HPF
- VCA160 - VCA Compressor / Limiter
- Stay-Levin - Vari-Mu Tube Compressor
- FET-A76 - FET Compressor / Limiting Amplifier
- VEQ-1A - 2-Band Tube EQ
- VMEQ-5 - 3-Band Tube Mid-Range EQ
- X903 - VCA Compressor / Limiter
- PowerFFC - Feed-Forward Compressor
- Clear Q - Parametric EQ
- Power EX - Expander
- VEQ-HLF - Tube 2-Band HPF / LPF
- Auraverb - Reverb
- BA-31 - Germanium Mic Preamp
- Power Gate - Noise Gate
- A-Tuner - Guitar Tuner
- Plexi 59 (UK) - Tube Guitar Amp
- Bass SuperTube VR - Tube Guitar Amp
- Darkface 65 (US) - Tube Guitar Amp
- Top30 (UK) Bright - Tube Guitar Amp
- Tweed Deluxe (US) - Tube Guitar Amp
- Overange 120 (UK) - Tube Guitar Amp
- BurnSphere (DE) Lead - Tube Guitar Amp
- Marcus II (US) Lead - Tube Guitar Amp
- Modern (US) CH3 - Tube Guitar Amp
- Rock 75 (UK) - Tube Guitar Amp
- Rock 22.10 (UK) - Tube Guitar Amp
- Darkface 65 2x12 - 2x12 Guitar Cabinet
- Top30 2x12 - 2x12 Guitar Cabinet
- Modern 4x12 - 4x12 Guitar Cabinet
- Green 2x12 - 2x12 Guitar Cabinet
- Vintage 4x12 - 4x12 Guitar Cabinet
- Green 4x12 - 4x12 Guitar Cabinet
- Caliper 50 1x10 - 1x10 Guitar Cabinet
- Bluelux 1x12 - 1x12 Guitar Cabinet
- Clst 1x12 - 1x12 Guitar Cabinet
- England 4x12 - 4x12 Guitar Cabinet
- Bass Tube 1x15 - 1x15 Guitar Cabinet
Technical Specifications
ANALOG
Analog Inputs
6 x Mic / Line Inputs
2 x Mic / Line / Hi-Z Inputs
Analog Outputs
1 x Monitor Out on TRS 1/4 Jacks, +20 dBu max
2 x ReAmp Out on TRS 1/4 Jacks
1 x Line Out (8 channels) on DB25, +20 dBu max
2 x Stereo Headphone Outputs
Mic Preamp
EIN: -128 dBu (A-weighted)
Dynamic Range: -122 dB (A-weighted)
THD: -116 dB
Max input: +18 dBu
Max Gain: 65 dB
D/A Monitor Converter
Dynamic Range: 130 dB
THD + N: -115 dB
A/D Converter
Dynamic Range: 122 dB
THD + N: -116 dB
D/A Converters(Line Out)
Dynamic Range: 121 dB
THD + N: - 100dB
DC Coupled
DIGITAL
Digital Inputs
2 x ADAT (up to 16CH)
1 x S/PDIF
Digital Outputs
2 x ADAT (up to 16CH)
1 x S/PDIF
USB 2.0 I/O
USB 2.0 Type B connector
Thunderbolt
Thunderbolt connector 3 on USB-C
CLOCKING
Word Clock Input
1 x Input @ 75 Ohms 3Vpp on BNC 32 – 192kHz
Word Clock Outputs
3 x Outputs @ 75 Ohms 3Vpp on BNC 32 – 192kHz
Clocking System
4th Generation Acoustically Focused Clocking
64-bit DDS
Sample Rates (kHz)
32, 44.1, 48, 88.2, 96, 176.4, 192
OTHER
Operating Temperature
0-50°C, 32-122°F
Weight (Approx)
3.0 kg/ 6.61 lbs
Dimensions (Approx)
Width: 483 mm / 19”
Height: 44 mm / 1.7”
Depth: 220 mm /8.6”
Power Consumption
25 Watts
Antelope Audio Edge Duo | Dual Capsule LD, 48v Powered Modeling Mic
Regular price $1,095.00 Save $-1,095.00The ultimate microphone to complete your mic locker
Тhis high-quality dual-capsule large-diaphragm condenser microphone captures vocals and instruments with pristine clarity, depth and detail, making it the perfect starting point for emulating a plethora of timeless studio microphones.
A legendary library
Edge Duo is able to call on an extensive and ever-expanding collection of classic mic emulations, with 11 legendary microphone models already available and 7 more soon to be released. All have been meticulously measured from carefully selected original examples in one of the most respected facilities in Germany. Find the full list of Edge Duo emulations below.
Unique design
Housed in a specially designed low-resonance body with a sleek matte black finish, Edge Duo features a 6-micron gold-sputtered dual-membrane capsule. It provides an incredibly smooth, rich and organic response that the powerful Antelope Audio modeling engine can shape into the true sound of some of the most expensive and sought-after microphones in the history of audio recording.
Multi-dimensional mic modeling
Edge Duo's dual-membrane capsule design feeds two separate XLR output channels via the included Y-cable. The signal from each membrane is then individually processed and recombined, delivering the most precise mic modeling on the market. This approach not only means that users can vary the polar pattern from within the plug-in, even after recording. It also allows the Edge Duo to accurately emulate the characteristic on- and off-axis response of each mic for true multi-dimensional mic modeling.
High compatibility
The Edge emulations are designed to work hand-in-hand with Antelope's own precision mic preamps and converters. For maximum accuracy, Edge Duo can be used with any of Antelope Audio's mic preamp-equipped interfaces, whose built-in FPGA processing capabilities allow real-time vintage mic emulation.
However, Edge Duo also includes Antelope's native mic emulation plug-ins, meaning you can use any third-party audio interface and even change modeling settings after recording. Available in VST, AU and AAX formats for both macOS and Windows, Antelope's native AFX plug-ins* provide everything we've come to expect from their industry-leading FPGA FX, with minimal latency, a high degree of oversampling and precise floating-point calculations.
*iLok 2 or 3 required. Not included in the pack.
About the new Edge Family
Building on the success of the acclaimed Edge modeling mic, the new Edge Family from Antelope Audio features three new large-diaphragm condenser mics - the fixed cardioid Edge Solo, the multi-pattern Edge Duo and the dual-capsule, four-output Edge Quadro, capable of 360° stereo recording.
Together with Antelope's constantly expanding range of FPGA and native AFX mic emulation plug-ins, the Edge Family makes Antelope's unrivalled mic modeling technology available to an even wider range of users and recording applications.
Key features:
- Powerful mic modeling engine
- Duosonic / Stereosonic microphone
- Output split into two independent audio channels for maximum control
- Large double-membrane condenser capsule
- Switchable polar patterns: cardioid, figure-8, omnidirectional and anything in between
- Ultra-low resonance headbasket and body construction
- Extensive library of vintage mic emulations
- Shock mount with pop filter and special oxygen-free copper Y-cable included
Mic emulations:
Berlin 47 FT
Berlin 49T
Berlin 57
Berlin 87
Berlin 67
Berlin M103
Vienna 12
Vienna 414
Tokyo 800T
Oxford 4038
Sacramento 121R
Berlin K86 (coming soon)
Berlin 47 TU (coming soon)
Berlin V563 (coming soon)
Berlin/Halske M25 (coming soon)
Berlin M251 (coming soon)
Minnesota 20 (coming soon)
Illinois 7B (coming soon)
Specifications
Microphone type: Stereo condenser microphone
Diaphragm: Large condenser - double-sided 6u gold-sputtered membranes
Diaphragm diameter: 34mm
Polar pattern: Multi-pattern (cardioid, figure-8, omnidirectional)
Frequency response: 20HZ ~ 20kHZ
Sensitivity: -35dB | 18mV/Pa (-1 to +3dB)
THD+N: -116dB
Self-noise: 19dB(A)
SNR: 75dB(A)
Output impedance: 50 Ohms @ 1kHz
Power requirements: 48V DC phantom power
Output connector: 5-pin male XLR
Color: Black matte
Weight (mic body): 1.23 lbs (560 grams)
Dimensions (mic body): 8.6" x 2.1" (219mm x 53mm)
Package contents
Breakout cable: 16.4' (5 meters) 5-pin female XLR to dual 3-pin male XLR (high grade OFC Y-cable)
Mount: Shock absorber type
Case: Standard mid-size road case with handle and custom-fit foam inserts