Neve Effects Units: Famous and Unknown?

[phoeni...@earthlink.net]

Classic Neve Consoles 1961 to date (Story #8)

Neve Effects Units, Famous or Unknown?

Hi

I guess that anybody with a fundamental knowledge of Neve consoles and
modules would be able to interpret a module’s function from the type
number scheme adopted by Neve in the early 1960’s.

For example:

1000 = Channel amplifiers (e.g. 1073)
1200 = Line Amplifiers (e.g. 1272)
1400 = Oscillators (e.g. 1466)
1700 = All the odd modules that would not fit into a category !
(e.g. 1777 PSU)
1800 & 1900 = Switching Units (e.g. 1895)
2000 = Effects Units (e.g. 2074)
2200 = Dynamic Modules (e.g. 2254)

This system worked fine at first but I couldn’t help but notice that
units better deserving a 2000 title were popping up under the 1700
banner! Here’s a run down of Neve equalisers, including some I bet you’ve
never heard of !!!

1766 (and 1783) Stereo Width Controls:

These handy little units were the 5.25" high and two modules width
(3.6"). They were generally installed in broadcast consoles and, as the
name implies, were able to change a stereo image from mono to normal
stereo to "spread" which produced an image much wider, equivalent to the
addition of 6dB of difference signal. A similar system is used on "boom
boxes" today to improve the separation effect of the speakers. I’ve
often wondered why these units were so little used (phasing problems?)
but a version was repackaged into a 35 series case for use in a much
later broadcast console.

Skipping all the early derivatives. . . we come to. . .

2065 High Pass + Low Pass Filter:

Well, what can one say about this little workhorse? Just two knobs giving
high pass frequencies of 45, 70, 160 and 360Hz and low pass of 2, 4, 6
and 8KHz. The frequencies are similar to those in the Channel Amplifiers
so these modules did not get a lot of use! They fill up the correction
unit spaces in Neve consoles quite tidily though!

2067 Tele Distort Unit:

Well, I can state for a fact that this "dressed up" 2065 did not sound
that much like a telephone! This I know from the research I performed as
Special Orders Manager at Neve to create a telephone sound that matched a
taped conversation a broadcast company sent us to model the sound on. I
succeeded by devising a distortion generating circuit in conjunction with
particularly sharp filters. This unit was sold to several TV companies
during my time at Neve and later, after I left, I completely redesigned
the unit with 99% distortion capability. This unit was also used by BBC
TV and later I sold a six channel version of the device, with camera
switching, to AMS-Neve for a contract they had with BBC TV!

2069, 2074, 2076, etc. Three Band Equalisers:

The 2069 was a 1066 Channel amplifier less the microphone input stage and
sensitivity switch and the 2074 the line input version of the 1073. The
2076 was a bus amp version of the 2074 with a 10468 mic input transformer
and => 36 dB of gain. These equalisers have the same eq components as the
more expensive channel amplifiers and are escalating in value (!)

2081 Sliding Notch Filter

The 2081 module was a handy device for lifting annoying but regular
frequency noises (eg 50/60Hz mains buzz) from a recording. A frequency
knob with a decade multiplier knob allowed the engineer to sweep near the
frequency to be zapped. The Q of the notch could be narrowed and then two
trim potentiometers were adjusted to achieve optimum rejection. A time
consuming process (achieved digitally nowadays!) but very effective!

2087 Stereo Four band Equaliser

Oh Lord! This is the module that most studios engineers would die for!
(Well, I thought they were good but what a @#$% to make!!!). The module
is 12" high and a double module width and is, in effect, two 1081
equalisers with ganged stereo controls. Even the boost /cut controls were
gold plated Elma switches and the module had a line input section only.
It was used for mastering purposes and not many were made. . . I believe
less than 20 because I sold two of them and the others were used in Disk
Mastering Consoles.

2089 Ten Band Graphic Equaliser Mermaid’s tears and Chicken’s teeth are
in the same category as this module, it is exceptionally rare! The
circuit was derived from a small 10 band equaliser fitted into portable
suitcase consoles sold to the South African Broadcast Corporation in the
early 1970’s. These little consoles, similar in size to the later 5422
series, were distinguished easily by the built in telephone handset and
dial that occupied the right hand section of the console. The circuit was
resurrected and used in a conventional 8.75" high module case and offered
ten frequencies from 63Hz to 12.5KHz, with all bands using a series LCR
network. I believe that only one console was ever fitted with this module
and I’d love to hear from anyone that has seen one!

2253 Broadcast Limiter

Ah! We’re up into the dynamic range of Neve effects units and this
particular module laid down the foundation for all of the subsequent 2254
Limiter Compressors. In brief (because I have covered this topic in a
previous article), the Rupert Neve designed 2252 module was given a large
"raspberry" by the Independent TV companies as the performance was
unacceptable for use as a broadcast limiter. David Rees, module design
engineer at the time, was given the task of designing a new limiter which
was readily accepted by the broadcast authorities. . . at the breadboard
/ prototype stage. . . such was the improvement. The Simpson Edgewise
meter, automatic recovery time facilities, and BA185 diode board of the
2253 leave no doubts as to who really designed the 2253 and 4 family of
modules, despite claims to the contrary!

2254 Limiter Compressor:

Ah! Another interesting point. . . has anyone ever seen a 2254 Limiter
Compressor ? Not a 2254A or 2254D or 2254E, just a plain ol’ 2254 ? They
are very rare and are distinguishable by the addition of a control to set
input attenuation as well as the usual output gain make up. They were sold
in 1969 prior to the 2254A’s appearance in 1970. The 2254 E had switchable
attack time (0.5" Marconi knobs replacing the A’s toggle switches for
Limiter on and Compress on) and the 2254 D had equalisation in the side
chain to create a De-Essing facility.

These modules used four transformers, a 31267 input, 10468 diode bridge
buffer, another 31267 for the limit side chain, and a LO1166 for the class
A output stage. Despite claims I have heard of identical circuitry between
the 2254 and its later siblings (e.g. 2264, 33609), the latter do not have
a transformer in the limit side chain of their circuits

(They are still damn fine compressors though!)

2257 Background Noise Suppressor :
Nowadays I suppose that you would call this module a noise gate. You could
set the threshold anywhere between 0 and -40dBu and the attenuation depth
between 3 and 33dB. It had switchable recovery times of 100mS, 270mS and
one second but I believe that its relatively slow attack time was its
"Achilles’ heel". An indicator light glowed to show that the threshold had
been exceeded and that a signal was present.

2258 Ducking Unit:

This module would seem to be identical to the 2257 and you would not be
far wrong! The 2257 obtains its gate signal from within its own signal
path whilst the 2258 has an external gate control input. The 2258 was
used as a VOX switch on some broadcast consoles whereby the DJ’s voice
attenuated the program whilst he/she spoke and then faded the program
back up again automatically when the intro ceased. Not a very common
module!

And finally. . . the 2264 Limiter Compressor

Derived from the 2254 via the 2262 (rare Pye cased Compressor) the 2264
is unique in a number of ways. Extruded aluminum 45mm wide front panels
are rare though not unique, but I cannot recall another 45mm module with
extruded top and bottom sections. The motherboard was retained in a slot
in the extrusion by means of small spring loaded pins. If these pop out
the weight of the transformers causes the pcb to fall back and snap the
wires off the front panel switches. . . beware when fixing not to lose
them!

The custom side panels were retained by the plastic clips normally found
on 35 series modules.

Most 2264’s had Ernest Turner gain reduction meters which had milled down
edges to fit on the front panel without any overlapping. Needless to say
the brittle and very thin plastic bezel frequently cracked when it touched
adjacent modules or suffered bad handling. Ernest Turner no longer make
these meters but, fortunately, other meters are available and are better
than the originals.

A number of 2264’s were sold with the de-essing modification and I also
used the motherboard to build the 19" x 1U 33615 Limiter Compressor. . . I
wonder if any survive?

This list obviously cannot include every Neve effects unit as many custom
versions were made for specific customers. I hope it has given some useful
information regarding the more common types and I am happy to answer any
queries anyone has about Neve modules, consoles or spares.

We are putting the finishing touches to a whole range of products which
will be both well built and affordable. I'll release details through the
press and this news group as the big day approaches!

Geoff Tanner

(former Head of the Electrical Drawing Office, Custom Sales Engineer,
Special Orders Manager, Spares Orders Manager, and Special Projects
Manager of Neve Electronics International)

Thursday, November 13, 1997

Phoenix Audio International
Hollywood, USA and Stevenage, UK
Email = phoeni...@earthlink.net

ps. We acknowledge that references to Neve refer to Rupert Neve & Company
Ltd. and Neve Electronics International at the time of the occurrences
detailed and the company is now called AMS Neve plc.

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