Rupert Neve Designs' 5052 is the vintage-inspired mic pre & EQ for the 5088 analog mixing console.
The Shelford 5052 echoes the simple and definitive 1073 feature set with a mic preamp, high pass filter, and 3-band inductor EQ, plus modern capabilities like the variable Silk / Texture control and simultaneous pre / post “tape” operation. Utilizing class-A, discrete, +/-24V topologies with custom-wound transformers and inductors, Rupert Neve designed the 5052 as a channel strip that captures the soul of his classic designs – without the previous compromises.
The Mic Preamp
Like Rupert’s designs from his time in Little Shelford, the 5052 preamplifier has 72dB of discrete, class-A gain coupled with robust square-core transformers. Unlike the classics however, the output transformer features the Silk Red / Blue and Texture controls to precisely tailor the harmonic content and tonality of the output stage.
By engaging these controls and sufficiently driving the output, the 5052 can produce up to 4-5% THD (primarily 2nd order, some 3rd order), bringing a richness and thickness to tracks when desired with no danger of overloading the output stage. With Silk disengaged, the output is modern and pristine, yet still retains Rupert’s signature larger-than-life transformer sound. The mic pre section also includes a sweepable 20-250Hz high-pass filter, Mic / Line selection, 48V phantom power, and polarity reverse.
The “Best-Of” EQ
The 5052’s 3-band, custom-tapped inductor EQ was inspired by our favorite elements of Rupert’s vintage EQ designs. The low frequency band is designed to produce a creamy, resonant bass response similar to a vintage 1064 – but unlike the vintage modules, the LF band on the 5052 can be used as either a shelf or a peak filter, adding punch, dimension, and control to your low end.
The midrange band is based on that of the 1073, ideal for sweetening vocals and instruments while bringing them forward in a mix, and its proportional “Q” response makes it well-suited for minimizing problematic frequencies. The high frequency band is a hybrid vintage / modern design, blending inductor circuitry with capacitor-based topologies to achieve vintage tones with enhanced control.
As with Rupert’s most prized classic designs, each EQ section uses low-feedback, class-A discrete electronics to prevent low-level artifacts and harshness from detracting from the tonal shaping. However, this new circuit is a decidedly modern design with updated techniques and components that were simply not available 50 years ago, and is definitely not a “clone”