The Rupert Neve 542 500-Series Tape Emulator is a follow-up to the acclaimed Portico 5042. As such, it delivers a remarkable simulation of classic tape sound through the inclusion of genuine tape drive circuitry while also incorporating a number of new methods for adding analogue color to individual tracks and mixes.
As a 500-series follow-up to the Portico 5042, the 542 delivers the same thick, musical simulation of tape while drastically enhancing creative control via a number of new features. In addition to the the "true tape" circuitry – great for bringing out 3rd-order harmonics – the 542 incorporates a soft-clip circuit that tames the harshest sources and enhances 2nd-order harmonics, a variable and versatile Silk/Texture circuit for three transformer tones in one, and a wet/dry control to blend in the perfect amount of saturation.
Unlike digital emulations, the “True Tape” drive circuit works by feeding a custom-designed transformer acting as a “record head”, which in turn is coupled to a correctly equalized replay amplifier. As the voltage rises on the “record head”, saturation increases, and a soft clip circuit engages at higher levels to round off peak transients. The sound of the tape circuit can be further modified with selectable 15 / 30 IPS modes and a pre/post-tape blend control. In addition to the tape circuit, the 542 also has the variable Silk & Texture circuitry found in the Portico II series of modules, which allows the engineer to fine-tune the harmonic ratio and tonality on the output transformer.
Getting the Most Out of the 542
While in the olden days, tape’s non-linearity was generally looked upon as more of a curse than a “feature”, the advent of digital systems that operate in a completely linear fashion has made many appreciate the quirks of non-linear audio processing. Unlike linear designs, non-linear devices require the user to actively experiment with gain staging to find the “sweet spot” of the circuit. Although this requires a small amount of effort on part of the engineer, if used properly, the effect can add a dynamic aspect to performances that can enhance the impact of a song.
The non-linearity in the 542’s “True Tape” circuitry and Saturation control necessitate taking note of both drive and input levels. How levels are staged into the 542’s tape circuit can significantly impact tone, depending on the position of the saturation control and the drive level on the tape circuit. As saturation is increased, low frequency compensation is decreased, and at a drive level of 5 the soft clipper enters the circuit. Finding the best balance point between low frequency response, total harmonic distortion, and desired soft clipping require playing with a combination of the saturation, trim and blend controls, and may also include using dynamics processing and proper gain staging before the 542.
As a rough guide, we recommend starting with an input signal from around 2-10dBu and applying saturation, 15 / 30 IPS, Silk, and blend to taste. However, it always behooves the engineer to experiment with the balance between the pre-tape signal level and the level of the saturation control to find the best results for each source.
To get a better idea of what is happening at different saturation and “Tape Head” levels, look through the frequency response and THD by frequency response graphs in the Technical Specifications section at the end of the manual.
Also, like a real tape machine, the flux loops in the “True Tape” circuitry can pick up signals from strong nearby magnetic fields (The most likely sources are nearby power supplies, power amplifiers and computer monitors). Although we have shielded both the unit as a whole and the tape circuit to minimize stray inductance, if you have issues with hum when engaging the tape circuit, try moving the 542 to other spots away from magnetic field radiators until the hum subsides.
Both Silk modes are modified and fine tuned by the “Texture” control. By manipulating the Texture control, the amount of Silk can be changed from essentially absent, to roughly four times the amount of coloration found in Silk from the original Portico Series. With Silk / Texture engaged, the distortion characteristic and harmonic content of the unit are very reminiscent of many of Rupert’s vintage class-A designs. These controls add another realm of tonal control to the 542, and should be explored creatively in conjunction with the “True Tape” for best effect.
Designed for 500 Series by Mr. Rupert Neve
Rupert Neve: "While creating functional 500-series modules is relatively simple, designing those modules to equal their non-500 series counterparts with the current, voltage and space restraints is quite challenging. In creating our own 500 Series Modules, we experimented with a number of different transformer and circuit designs to achieve the same presence and sweetness found in the Portico Series of modules. The result of these efforts is that outside of the slightly lowered headroom, our 500 series modules are nearly indistinguishable from standard Portico Series modules, and are perfectly suited for studios of the highest-caliber."
The 542 consists of a line driving amplifier having transformer balanced inputs and outputs. The sonic quality of these amplifiers is such that by providing galvanic isolation, simple single-sided circuit topology and freedom from grounding problems, they are capable of enhancing the sonic quality of many signal sources, especially those of digital origin. The sonic "signature" is one of extreme purity and the image is consistent with that of Rupert Neve’s original designs of 35-40 years ago.
Rupert Neve 542 500-Series Tape Emulator Features
- TAPE IN - Sends the signal through the “True Tape” circuitry, which is affected by the saturation, blend and 15 / 30 IPS controls.
- TRIM - Provides +/– 12dB adjustment of level on incoming signal levels, prior to the tape circuit.
- SATURATION - Controls the signal level being sent to the "tape head" circuit. As the saturation level increases, the level on the “record” head rises, and the replay gain is reduced so that the overall output signal level remains more or less constant. In a real tape recorder, you would adjust the record and replay gain controls separately – however, in the 542 the record and replay gain controls are coupled so that the overall signal level only varies as the “Tape” saturation level changes. As you approach maximum saturation setting, the output signal level will drop due to the effect of extreme saturation and soft clip. Additionally, to compensate for low frequency loss at low “record head” levels, the saturation knob also controls a low frequency compensation circuit that boosts low frequencies more at low saturation levels, and tapers off at higher levels. This function can be useful on many sources like bass and kick drum to find the balance between a clean, boosted low end (low saturation) and a denser, more saturated low end (high-saturation).
- 15/30 IPS - Selects the pre-emphasis / de-emphasis, record / replay tape characteristic. The 15IPS mode has a significant “head bump” in the low frequencies centered around 60Hz, as well as a more pronounced roll of in the high frequencies. The 30 IPS mode is generally a flatter response through the high-end with a “head bump” around 120Hz. See the frequency plots on pages 10 & 11.
- BLEND - Controls the mix of pre and post tape signals. This allows the engineer to dial in a subtle amount of the tape effect, to better control the amount of saturation, tone and soft clipping in the post blend signal. As the signal gets more saturated, dialing back the blend can be a great way to impart the feel of tape, while maintaining a similar level of detail and transparency. NOTE: The blend control does not affect the Silk and Texture controls, as that circuitry is located at the physical output of the unit.
- SOFT CLIP - A soft clip engages in the “True Tape” circuitry when the drive meter hits 5 (first yellow LED), and becomes more apparent at higher levels. The soft clip can be used as a way to tame overly transient material like drums, and can be controlled further by using the blend control.
- SILK / TEXTURE - Pushing the Silk button engages the Silk Red circuit, and pushing it a second time introduces Silk Blue circuitry. Silk reduces the negative feedback on the output transformer, adding harmonic content as the texture is increased. Silk Blue mode features more saturation in the lows and low mids, whereas Silk Red accentuates the saturation in the high mids and highs.
- LEVEL / DRIVE METERS - Two eight segment LED bar-graph meters are fitted to the 542 for output level and drive metering. The level meter shows the output level of the 542 before the Silk circuit, and the drive meter reflects the level on the “record head” when the tape effect is engaged. The soft clip circuit is present at Drive levels above 5.
5 Reviews Hide Reviews Show Reviews
A number of studios here in Nashville (and everywhere else, I imagine) offer the option of recording directly to tape. And a lot of people bounce their final mix to 2-track tape and then record back into their DAW. Personally, tape has not been a "thing" for me since teenage years when I swapped vinyl albums with friends and recorded them to tape - - for personal listening only. However, I do want the option for some tape effect but have not been real impressed by tape emulation plugins. I don't how much or how little the RND 542 "sounds like tape," but I like what it does - - especially to drum sounds. I got two units and usually send either my drum bus or the kick and snare individually through the units. As well, I have printed final stereo mixes through the 542s. I often like what I hear. Using two of these units is much easier than keeping a 2-track tape machine running and calibrated ... and finding tape to buy!
I run everything through this module. Due to the convenience of the Kemper amp, I've started to record all electric guitars through a kemper amp going straight into my interface using the digital connection. However sometimes the sound seems a bit artificial. I run these recorded guitar tracks through this Neve 542 and it makes the guitars much more real. Much more tangible like a real amp was recorded in the room. Run all tracks through the 542 and it gives each instrument it's own space as if it were real within the stereo mix.
This is by far the piece of equipment that has tamed the harshness of my digital recordings and brought me closer to the classy sound I've been searching for. I've tried burl ADC, symphony I/o, Darker mic (Lauten), RND inductor eqs, portico 5043, elysia karacter, UAD plug ins etc. and I'm most happy with what the 542's have done to the sound. Absolutely love all the previous gear mentioned, but these will be used on everything! No better way to get that full, rounded, and rolled off sound of tape than using actual tape heads!
This thing is an absolute joy. Every button and knob work together to create an analog sandbox that is completely fun to play in. It washes any source in warmth dialed to taste. The result is a 3 dimensional, cohesive collection of tracks that are easy to mix ITB. Now, I'm planning on another.
I bought one of these to try out a while back. Shortly after, I bought another to have a pair. Now I have four. Doesn't exactly sound like tape, but it does similar things and just sounds like a piece of good, colorful and versatile analog gear.