Rupert Neve shares his stories at Blue Rock Studios
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- Опубліковано 9 лют 2025
- Rupert Neve being interviewed by Billy Crockett during the dedication of the new Neve 5088 console in the Blue Rock Studio. We were in a lucky position to shoot this video for MOMSR. It is made available thanks to Billy, Rupert and Neve's representative Josh. From left Blue Rock Chief Engineer Charlie Kransky, Blue Rock co-owner Billy Crockett, Rupert Neve and Rupert's wife Evelyn. Video posted with permissions from Rupert Neve and Billy Crockett for the Museum of Magnetic Sound Recording
©2020 Phantom Productions, Inc./Museum of Magnetic Sound Recording/Blue Rock Studio
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Every single interview Rupert did, he made sure to credit his staff whenever he got the chance. That’s proof of an amazing company. Super proud to own a 5088.
Rest In Peace Mr Rupert Neve ❤️🙏🏼
We miss you Mr Rupert Neve ❤️
Amazing to hear Mr. Rupert Neve speak. What an amazing person and also a very much down to earth personality.
Philip
Rip Mr. Neve
Niice interview with the one!
FROM THE MOUTH OF A AUDIO PIONEER AND LEGEND , AONOLOG MIXERS AND RECORDING IS STILL THE BEST ,THE WARMEST ,AND THE MOST AUDIBLE AND PLEASING TO THE EAR OF ALL REPRODUCED AUDIO SIGNALS
Thanks for this valuable little snippet
This is beyond epic
ANY FREQUENCY ABOVE 20 K HZ IS NOT AUDIBALLY HEARD BUT, PERCIEVED AND SENSED. THIS CONCEPT IS TRUE. SPOKEN BY THE OLE MASTER !!! HE DESIGHNED AND ENGINEERED THE BOARD THAT RECORDED ALLOT OF THE GREATEST ROCK N ROLL ALBUMS , MISIC , AND HITS BY LEGONDARY ARTISTS IN THE HISTORY OF THE MUSIC PROFESSION
That was an awesome moment right there you all had with the legend .... Thanks for the video Martin
Rupert is such an interesting person to listen to. Fantastic 👍
Rupert Neve you are simply AWSOME !!!!!!
amazing,i could listen to him all day.
thank you for sharing this, Martin
THIS MAN PREDOMANANTLY INVENTED THE MIXING BOARD
Rupert Neve YOU ARE a Genius for the ages,thank You for All!!!
I'm not a golder ears kinda guy - more a pro audio dude. I got to meet Rupert back in 1997 at AES and speak with him a few more times afterward. The thing with analog - - it's infinitely continuously variable. Quantinization is only limited to the physics or electromechanical resoulution of things like pots and the voltage swing available. That's the key with the 5088 - it uses silly high voltage rails. One has to realize that mount of acoustic power in something as simple as a scissor closing. To effectively translate and manipulate that in the analog domain benefits greatly from having power rails that allow voltage swings with high slew rates available. That's what makes the 5088 special. That and Rupert's experience in design.
So cool!
Great video!
I just accidentally ran into this video. I just love how many details and facts I've picked up along the way from the Master himself. And, needless to say, I work with Focusrite gear. Very affordable and amazing stuff. If only I had more cash at my disposal. I'd go for Focusrite desk or bucket of 8 or 16 if possible at least! ;-)
RIP
Awesome
I've been perplexed by the notion that analogue sounds better than digital. I mean, I get it. It's similar to how some argue analogue pictures (film) look better than digital. While I'm stil not convinced,
Rupert explains here that it's the higher frequencies (above 20k (which apparently only analogue consoles are capable of)) reacting with and leaving an impression upon the lower frquecies, which makes the difference. In other words, let's call it, harmonic interaction?
Ok. I guess that's plausible. My hesitancy to accept it comes from realising, unless you have expensive speakers (95% of the audience), you wont ever hear it. So I'm thinking, why spend so much on having an analogue console when noone will hear the difference. Seems redundant to me.
Now ... if it's for bragging rights? I'm in! Businesses spend a heap on advertising to get people in. So I'm all for it. But lets just call it what it is.
I go back and forth on this a bit, myself. Certainly high frequencies do interfere with lower frequencies to create new interference tones. However, those should also be captured if they're within the audible range. So is that why it sounds good? Probably not. It would seem that Rupert is saying that having the actual "inaudible" frequencies there is important to perception of the music as real. He might be right. It could also be due to losing those interactions in mixing. If you haven't captured all those frequencies when you record instruments in isolation, they will not interact with other instruments captured in isolation, but you'd have the interactions that were actually recorded within the isolated track.
However, there's another possibility, here. That is, that by designing the equipment to handle high frequencies like that, the quality of the parts has to be higher, and they're probably going to operating within a very comfortable range of their design limits. It's kind of like when you capture higher frequencies in digital. You can use a much gentler filter to low pass up to 192khz than you can for 44.1khz, for example, because a gentle filter that cuts off everything above 44.1khz will have effects down in the range that you actually DO want to capture and reproduce (up to 20khz). Those are analog filters that are being used to do that as well, on an ADC. So if you have designed your gear to reproduce up to a lower frequency (say 20hkz), it's more likely that there might be consequences of that in the audible range.
In the end, though, RND gear sounds amazing, so I dunno how much I care if the philosophy that produced it is correct for the reasons stated. It worked.