Why we chose the Shelford pre’s
Within every industry a particular name becomes synonymous with innovation, quality and excellence. For example: When you think of cars, you think of Enzo Ferrari; when you think of musical instruments, you think of Antonio Stradivari; and when you think of professional audio equipment, you think of Rupert Neve.
Rupert Neve
Since 1961, Neve, under its many forms, has been a relentless trailblazer in creating and designing some of the most notable equipment for recording studios. Many of which are still drooled over by many engineers both at the top of the profession, as well as those just about to step in. Whether it be their many mixing consoles, such as 8028 and VR-series; 1073 and 1081 mic-pre / EQ modules or their legendary 33609 compressor-limiters. When a name carries such weight, it's not surprising to see other pro-audio brands keen to associate themselves in an attempt to prove their commitment to the same values identified with it. That being said, Rupert Neve Designs are very strict with how and who they partner with. This has led to some very successful collaborations with Focusrite, AMEK and SE Electronics.
Needless to say, products by Rupert Neve Designs (his current company) are highly regarded, as the company takes a no-compromise approach with all of its offerings. In today’s careless manufactured environment, it would be easy to assume that RND is just another spin-off company, reissuing the earlier Neve classics with new names and updated looks, to swindle money from unassuming customers. Instead they have that original drive for innovation imbued in their DNA. All of their products are new designs that incorporate new thinking, relevant to the workflow of the modern recording studio. Probably due to the fact Rupert Neve always been around, it’s really under appreciated by those of us who live and breathe this stuff, how much RND still have their finger on the pulse of the pro-audio industry, with their latest offerings are still winning critical success. Rupert Neve Designs Shelford 5052 and 551 Win Big at the NAMM TEC Awards & the Neve 5088, of which the Shelford channel is an integral component; https://www.resolutionmag.com/news/resolution-awards-2019-winners-announced/.
The latest offering is RND is the Shelford Channel Strip. With its classic design (battleship grey colour) and solid feel the Shelford Channel features mastering-grade stepped controls, everything feels and looks intuitive and strictly professional. The Shelford Channel’s design grew directly from the original circuits in Rupert's classic console modules such as the 1073, 1064, 1084, and 2254, together with the addition of discrete usage when required. The Shelford Channel is built around Rupert Neve's first new transformer-gain, class-A microphone preamplifier in over 40 years, the inductor EQ section from the Shelford 5051 and 5052, a tone-packed diode bridge compressor, the addition of harmonic saturation via the variable Silk modes, a new dual-tap transformer output stage for maintaining headroom or allowing the full driving of the Channel without clipping standard converters, and twice the operating voltage of vintage designs.
The ARC Studio is a commercial recording studio, and therefore we need our equipment to be able to perform with a wide range of situations and styles, meeting the many needs of any artist who walks through our doors. It's hardly surprising the Shelford Channel strips were a must. With Rack-Unit estate being hotly contested over, like the territory of Kashmir or the like, the fact each unit is 1u is very appealing. To get the same features of a stereo set using classic Neve gear, you would need a stereo 1073 / 1081 unit with EQ which is 4u, plus some compression with the 2254, which would take up another 2u of space. In total 6u of rack real estate (half a studio rack!) and a massive hole in your wallet! Whereas two Shelfords not only take up way less space, but leave you with more cash to fill it, without compromising on quality.
Rupert Neve designed Shelford channels, used at ARC Studios
In session these units are incredibly versatile and come into their own, delivering results quickly. One of the first projects at ARC was with Flook and their critically acclaimed album Ancora, which was nominated for Album of The Year 2019 at the BBC 2 Folk Awards. The Shelfords were used on the flutes and whistles for that record. Tonally, your ears scream 1073, with strong mids and a musicality to the highs and lows. What we found most surprising was unlike a traditional Neve, the sonics were much more focused. Considerably tighter. Giving you more control without the need for further processing later - via EQ or compression. Anyone who has recorded any kind of wind instruments will tell you tone is everything, and achieving it is easier said than done.
In another session, this time tracking drums for an indie band. We decided to use a Shelford Channel, with a 1977 Neumann U47 Fet, just outside of a kick drum - typical setup... The distinctive low-end distortion you've come to expect from a Neve preamp, gave a big fat bottom (buttery biscuit bass) to it. Again, this unit goes further making it feel more defined. However the kick felt a little honky, so this is where we got to experiment with the variable transformer saturation circuit, rather than just EQ it out. Those who have graduated from the Tchad Blake school of distortion, know to treat it like a gradation tool. Similar to an artist shading with a pencil, making judgments about how hard to press, which strokes to use, creating a complex but rich texture to add depth. The adequately named Silk / Texture mode works exactly like that. It would be nice to think that RND may have had the same analogy in mind when designing and naming this feature. The interface is one of the most intuitive and pleasing to use. Precisely one button [Silk] which was a choice between Red (higher harmonics) and Blue (lower harmonics), and also one knob [texture] for how much to work in. When applied to the kick drum, it was so enlightening how much control was literally at your fingertips. We went with the Blue Silk to tackle the honkiness, and with the texture knob turned to roughly nine o’clock, it didn’t feel like distortion at all. Although subtle, it suddenly felt three dimensional. Inspiring. Instant.
In the studio, we all aim to get sounds that can inspire the most beautiful performances, which help suspend the listeners’ disbelief for a few minutes. Yet, in today’s climate the luxury of time to indulge is not there. The Shelford Channel really does solve that problem. Within minutes you can achieve a sound that will have everyone in the room jumping round like fleas on a dog's back.
A brief view at the new Shelford Series from Rupert Neve Designs.