The Shelford Channel Transformer Gain Mic Preamp, Inductor EQ, and Diode Bridge Compressor from Rupert Neve Designs is the evolution of the original technologies of his classic console modules like the 1073, 1064, 1081, and 2254. The Shelford Channel has been refined for the 21st century studio and can be used as a front-end channel for controlling audio signals in studio applications and more.

Featuring a single XLR mic input with 48V phantom, a single XLR line input and XLR outputs, the Shelford Channel is built with a 1/4" line input and a thru connector. Side-chain TS send and return, and two link connectors, are also provided. Outstanding features include the inductor EQ section, the tone-packed Diode bridge compressor, the analog power of variable Silk saturation, and a dual-tap transformer output stage with twice the operating voltage of vintage designs that allows the full driving of the Channel without clipping standard converters.

With richly colored tonal options for making bold statements with your music and precisely engineered detented controls for recall, the vintage-inspired Shelford Channel maintains the soul of Rupert's Neve's classic designs with new levels of versatility.

XLR Microphone, Line & 1/4" DI Inputs    XLR Line Output and -6 dB Line Output    1/4" Side Chain Send and Return    High, Low-, and Mid-Frequency Control    VU Meter Calibrated in dB    Texture for Tuning of Harmonic Ratio    Phase Inverts the Polarity of the Signal    48V Phantom Power for Mic Input    Ground Lift Switch    Includes Power Cable

The Shelford Channel's mic input uses direct transformer coupling with 15 dB of gain in the transformer itself; the resulting sonic performance allows the mic pre to capture the more forward mids and slightly rounded-off high and low frequencies of vintage designs like the 1073.

The Hi-Z front-panel input uses the same discrete Class-A FET with transformer topology as the Rupert Neve Designs RNDI, but it utilizes the new RN4012 input transformer into the microphone preamplifier for gain. It delivers clarity to high-Z sources with a low-end presence and smooth high frequencies. The DI also includes a passive thru output to feed a separate amplifier.

The dual-tap output for the Channel's RN2042 square-core output transformer creates both high- and low-headroom outputs without compromising the channel's performance. Designed to capture a pristine sound at high levels while avoiding coloration of the output stage, the high-headroom tap takes full advantage of the Shelford's higher-voltage design. The low-headroom tap is optimized to allow an engineer to drive the full-voltage range of the Channel—adding dynamic tone without clipping.

The addition of the Silk and Texture circuitry allows control over the harmonic content and saturation of the output transformer. With Silk disengaged, the output is still modern and pristine, yet still retains the larger-than-life transformer sound. When engaged, the 2nd-order and 3rd-order harmonic content can be dialed up to several times beyond that found on a vintage 1073. It is further controlled with Silk Red and Blue modes, which emphasize different harmonic content generated by the source's high frequencies.

Switches between microphone/direct injection input (button out) or line input (button in).

This switch separates the direct connection from audio-signal ground to chassis earth.

When green, it indicates signal presence (a signal level of -20 dBu). When red, it indicates 2 to 3 dB below input-stage clipping of the mic/line stage (+23 dBu, while the mic pre clips at +25 dBu).

This 12-way precision rotary switch controls gain from 0 to 66 dB in 6 dB steps.

This rotary switch provides continuous gain adjustment over a range of +/-6 dB.

Provides phantom power on the microphone input.

Switches the polarity of the signal path.

The HPF switch engages a 12 dB per octave high-pass filter. The HPF potentiometer is variable from 20 to 250 Hz and can be used to filter out unwanted low frequencies, or can be used in conjunction with the EQ to help shape source material.

This control selects the frequency (-3 dB) at which the filter begins to roll off low-frequency signals. The filter is a 12 dB per octave Bessel filter designed to musically preserve important timing information while cutting low-frequency noise like air conditioning rumble.

This switch engages all EQ frequency bands except the HPF.

Adjusts up to 15 dB of boost or cut at the selected low frequencies. Cut can be used as a variable, as a gentle alternative to using the HPF. Remember to reduce the signal level at the source to minimize the potential for distortion when any of the 3 bands are boosted significantly.

This rotary switch has 4 positions for selecting one of four corner or center frequencies for the low-band EQ section. The frequencies are 35 Hz, 60 Hz, 100 Hz, and 200 Hz. With the LF Peak button pressed the low-frequency band changes to peak mode with a bell shaped boost or cut curve. Between the LF Peak button and LF Freq rotary switch, an engineer has 8-tonal variations of EQ shapes to finesse the bottom end, plus the high-pass filter can be introduced for further tightening and manipulation.

When the button is out, the low frequency band operates in shelf mode, boosting or cutting below the corner frequency.

The resonance or Q of the mid-band at maximum boost is typically 2 when the button is out. When the MID HI Q is pressed at maximum boost, the Q narrows to approximately 3.5. It widens nicely with less boos or cut as is typical for passive EQ circuits. The Q tends to be slightly wider when the frequency is set lower, and slightly higher for higher frequency selections. The Q is also narrower for cuts than it is for boosts and the mid band is non-symmetrical by design.

Adjusts up to 15 dB of boost or cut at the selected mid frequencies.

This rotary switch has 6 positions to select the center frequency of the mid-band EQ stage. It utilizes an inductor and capacitors to shape the EQ curve. The frequencies are 200 Hz, 400 Hz, 900 Hz, 1.8 kHz, 3.5 kHz, and 7.5 kHz.

When the button is out, the high-frequency band operates in shelf mode, boosting or cutting above the corner frequency at approximately 6 dB/octave. Below the corner frequency the amount of boost or cut gradually diminishes. With the Hi Peak button pressed, the high- frequency band changes to peak mode with a bell-shaped boost or cut curve.

With the switch out, the center or corner frequency of the high band is 8 kHz. With the button pressed, the center or corner frequency changes to 16 kHz. Between this switch and the HI Peak switch, you have 4 different EQ curves to finesse the high-frequency content.

Adjusts up to 15 dB of boost or cut at selected high frequencies.

These pairs of jacks are only used to perform some fine tuning of the compressor operation. The audio that normally controls the compressor is available on the "Sidechain Send" jack. One can take this audio and pass it through an external equalizer then return it back to the "Sidechain Return" jack.

The compressor-limiter section is engaged with this button. It can be useful for control of the compressor and it is there for "confidence checks." In particular, exercise it in both the quietest and the loudest sections of the song.

Sets level where the compressor begins to react from -25 dB to +20 dB. Minimal or no compression is with this control fully clockwise, and it gets more sensitive and tends to cause more gain reduction as the knob is rotated counter-clockwise.

Sets the "slope" of the compression from 1.5:1 (minimal) to 8:1 (significant).

This control inserts an external device into the side-chain signal path via the rear panel side-chain insert jacks.

It routes the high-pass filter into the circuit that the compressor uses to determine level, commonly referred to as "the side-chain."

Often referred to as make-up gain, this is a level control.

This six-position control adjusts the attack/release speed of the compressor.

Links the side-chain control of multiple units for ganged operation.

Pushing this button changes the order of where the compressor is in the circuit.

Adjusts the blend of the dry, uncompressed signal and the compressed signal.

When pressed, it alters the speed of both the attack and release of the selected time constant of the compressor.

The VU meter is calibrated to display both average (RMS) output level and compressor gain reduction.

Related Questions and Answers

Q: 1. Does it come with "Fishman 910-R " power supply ?

A: Yes, the Platiunum Pro EQ Analog Preamp and DI does come with the Fishman 910-R power supply.

Q: 2. Is the case metal or plastic? Any RFI suppression built in?

A: Works Great. Metal case. I used it with an ethernet adaptor and was able to send the audio signal through a schools cat5 wiring for their school PA System.

Q: 3. What would be the best way to connect a Focusrite Scarlett Solo to the Neve?

A: The Scarlett Solo features unbalanced outputs. Connection from the outputs to the Neve RNHP headphone amp would be via RCA cable. From the headphone jack of the Solo would be an alternative. In this case the 3.5mm jack would be the most closely matched connection.

Q: 4. can this be repurposed and used to pre amp a playback tape head? i know this is unconventional but i just need it to work. HELP!

A: The Rolls MP13 is a mic preamp so it is designed to receive a mic level signal but the output from the playback tape head is a line level signal. It could work, as long as you can control the output level from the tape head so it does not overload the input of the preamp, unless that is the desired effect that you wish to achieve.

Q: 5. Will this work to power and amplify a condenser mic fed into a 3-way line splitter, specifically a Whirlwind SP1X3LL?

A: The Rolls MP13 is able to power a condenser mic and the output can be connected to a splitter such as the Whirlwind SP1X3LL. The MP13 however only offers 36v of phantom power and would not be recommended for mics who require a full 48v. Many mics are able to operate at a range of voltages from 9v - 52v and you should check your mics requirements before purchase.

Q: 6. I've seen reviews say that this doesn't come with a power supply. Is that true?

A: This interface comes with a power supply.

Q: 7. excuse me my email is my question is i have a focusrite 14 and a program call samplitude prox 2 how do i connect them? and do i need it?, i need more gain and mor quality audio.

A: The TubeOpto8 is an 8 channel mic preamp. This unit features an optical ADAT digital output that carries all 8 channels. Unfortunately the Focusrite saffire Pro 14 does not have an ADAT input and would not be compatible.

Q: 8. Needing a amplified microphone to do voiceover on live dvd recording?

A: You don't need it, but a pre amp is a good idea!

Q: 9. The description is ambiguous. Is this an analog to digital converter? Are the input connectors RCA or XLR?

A: Yes it is. It is also an audio interface. This is a list of the inputs and outputs:2 x combination XLR-1/4 inputs2 x 1/4 TRS line inputs, phone type1 x 5-pin DIN MIDI input1 x 5-pin DIN MIDI output2 x 1/4 TRS main outputs, phone type1 x 1/4 headphone output, phone type1 x 5-pin DIN MIDI output

Q: 10. What is the EIN of this unit in dBu? I can't find the specs anywhere

A: At this time, that spec is not provided by the manufacturer.