Two legendary British compressors, powering decades of Neve sound.
The Neve Dynamics Collection gives you fully-endorsed end-to-end emulations of Neve's most cherished dynamics hardware — the Neve 2254/E and refreshed 33609/C limiter/compressors — exclusively for UAD hardware and Apollo interfaces.
- Get the world's only authentic plug-in emulations of Neve's iconic 2254/E and 33609/C limiter/compressors
- Mix with the 2254/E, the famed compression module from Neve's iconic 80 series consoles
- Shape with the updated Neve 33609/C using new Sidechain Filter, Dry/Wet Mix, and Fast/Slow Attack controls
- Easily add weight, thickness, and tone on individual tracks and buses
- Sculpt with custom Attack and Release settings not found on the original Neve 2254/E
- Mix with artist presets from Vance Powell (Jack White, Chris Stapleton), Damian Taylor (The Killers, Björk), Chuck Zwicky (Prince, Soul Asylum), and more
Operational Overview
UAD Plug-Ins in the Neve Dynamics Collection
The Neve Dynamics Collection for UAD consists of two 2254/E plug-ins and two 33609 plug-ins.
Neve 2254/E
This is the famed 80 Series in-line limiter/compressor module. It can be used on mono and stereo sources. On stereo sources, the controls adjust the left and right channels simultaneously.
Neve 2254/E
Neve 2254/E Dual
This is the famed 80 Series in-line limiter/compressor module with independent left and right channel controls. It can be used on mono and stereo sources. When used on mono sources, the controls for both channels are linked.
Neve 2254/E Dual
Neve 33609/C
This is the famed outboard limiter/compressor rack unit with independent left and right channel controls. It can be used on mono and stereo sources. When used on mono sources, the controls for both channels are linked.
Neve 33609/C
Neve 33609/SE
The Neve 33609/SE algorithm is derived from the Neve 33609/C. It provides sonic characteristics similar to the 33609/C, but uses significantly less DSP when UAD resources are limited. The 33609/SE is differentiated by its black background color.
Neve 33609/SE
Signal Flow
In the 2254 and 33609, the output of the compressor is fed to the input of the limiter, as shown below. As with the original hardware, the signal does not flow "from the left to the right" in the interface. Understanding this signal flow will help you obtain a more predictable result.
Simplified signal flow
End-to-End Nonlinear Modeling
The Neve Dynamic Collection plug-ins model all aspects of the original hardware, including the desirable harmonic distortion characteristics. These qualities are more prominent at higher input levels.
Amplifier-Only Sonics
As with the original hardware, when the compressor and limiter are both disabled (set to OFF) in the plug-ins, coloration from the amplifier modeling occurs. If a full sonic bypass is desired, use the Power switch to disable the plug-in.
Artist Presets
Presets from prominent Universal Audio artists are included. You can access the artist presets using the UAD preset browser.
|
Adam Hawkins |
Chris Coady |
Chuck Zwicky |
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Dave Isaac |
J.J. Blair |
Joe Chiccarelli |
|
Mike Poole |
Richard Chycki |
Steve Levine |
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Carl Glanville |
Chris Zane |
Damian Taylor |
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Eric J Dubowksy |
Jeff Balding |
Mark Needham |
|
Nick McMullen |
Ross Hogarth |
Vance Powell |
Artists that have provided presets for the Neve Dynamics Collection
Neve 2254/E Controls
The Neve 2254/E and Neve 2254/E Dual controls are identical, except as noted. The Neve 2254/E Dual has separate, identical controls for the left and right channels.
Dynamics Control Groups
The limiter and compressor controls are grouped as indicated in the diagram below.
Bypass (BYP)
This is a soft bypass switch for glitch-free comparing of the processed and unprocessed signals. The plug-in is active when the switch is in the down (IN) position.
To unload the plug-in from the DSP and conserve UAD resources, use the POWER switch.
Tip: Click the control's text labels to switch to that value.
Level Meter
The modified peak program metering can display input levels, output levels, or gain reduction levels. The levels being displayed are determined by the METER switch.
Meter Switch
The Meter switch determines what is displayed by the Level Meter. To change the setting, click a text label or rotate the knob. The available values are:
IN – The Meter displays signal levels at the input of the plug-in, and is referenced by the red labels within the meter.
CONTROL – The Meter displays the amount of gain reduction, and is referenced by the black labels within the meter.
OUT – The Meter displays signal levels at the output of the plug-in, and is referenced by the red labels within the meter.
Note: When CONTROL (gain reduction) is selected, the meter indicator moves from bottom to top as gain reduction increases. This meter behavior is different from that of many compressors.
Limiter Controls
Limit
This control selects how fast limiting will attack when the signal exceeds the limiter threshold. The switch is also used to disable the limiter.
Tip: Click the control's text labels to switch to that value.
The FAST setting is 100 microseconds, and the SLOW setting is 5 milliseconds. When set to OFF, the limiter circuit is disabled.
Note: Setting both Limit and Compress to OFF provides amplifier-only coloration.
Limit Level
This control selects the limiter threshold. When the input signal exceeds the threshold level, the signal above the threshold is limited. Smaller values result in more limiting. The available range is from +4 dB to +12 dB, in 0.5 dB increments.
If the compressor is enabled, the Compressor Gain in the compressor section will affect the input level into the limiter. In this case, the compressor gain can affect the limiter threshold response.
Tip: Click the control's text labels to switch to that value.
Limit Recovery
Limit Recovery (release) is the time it takes for the limiter to stop processing after the signal drops below the threshold value. The available values (in milliseconds) are 100, 200, 800, and AUTO.
The automatic setting is program dependent. This position provides a composite control, with rapid response to isolated peaks, and a slower release after prolonged high levels.
Tip: Click the control's text labels to switch to that value.
Compressor Controls
Compress
This control selects how fast compression will attack when the signal exceeds the compressor threshold. The switch is also used to disable the compressor.
Tip: Click the control's text labels to switch to that value.
The FAST setting matches the original hardware at 5 milliseconds. The SLOW setting, which is not available on the original hardware, is 25 milliseconds. When set to OFF, the compressor circuit is disabled.
Note: Setting both Limit and Compress to OFF provides amplifier-only coloration.
Gain Make Up
This makeup gain control increases the signal level out of the compressor to compensate for reduced levels as a result of compression. The available range is 0 to +20 dB, in 2 dB increments.
Tip: Click the control's text labels to switch to that value.
Make sure to adjust the Gain control after the desired amount of compression is achieved with the Threshold control. Make Up Gain does not affect the amount of compression.
Notes
- If the limiter is also enabled, Gain Make Up is applied before the limiter stage.
- Gain Make Up has no affect when the compressor is disabled.
Compress Ratio
This control selects the compressor ratio. The available values are 1.5:1, 2:1, 3:1, 4:1, and 6:1. The compression characteristic is shaped such that the onset of compression is smooth and progressive, the true ratio being reached within the first 5 to 10 dB above the threshold value.
Tip: Click the control's text labels to switch to that value.
Threshold
Threshold determines how much compression will occur. When the input signal exceeds the threshold level, the compressor engages. A smaller value results in more compression. The available range is from -20 dB to +10 dB, in 2 dB increments.
Tip: Click the "0" text label to switch to that value.
Compress Recovery
Compress Recovery (release) is the time it takes for the compressor to stop processing after the signal drops below the threshold value. The available values are 400 ms, 800 ms, 1.5 seconds, and AUTO.
The automatic setting is program dependent. This position provides a composite control, with rapid response to isolated peaks, and a slower release after prolonged high levels.
Tip: Click the control's text labels to switch to that value.
Pull /8
UAD Neve 2254/E and 2254/E Dual offer additional compression recovery times that are unavailable on the original hardware. When the PULL /8 function is active, the recovery time values are divided by eight, resulting in available release times of 50 ms, 100 ms, and 200 ms, respectively.
To toggle the function, either click the "PULL /8" text label, or shift+click anywhere on the COMPRESS RECOVERY knob. When Pull /8 is active, the knob is "lifted" and slightly enlarged.
Note: The Pull /8 function has no effect when Compress Recovery is set to AUTO.
Other Controls
Mono/Stereo
This switch controls both the compressor and limiter sidechains.
Tip: Click the control's text labels to switch to that value.
When the plug-in is in a stereo-in configuration and the switch is set to MONO, both channels of the stereo signal are compressed/limited in equal amounts, preventing shifting of the stereo panorama. When set to STEREO, the amount of gain reduction is independent in each channel of the stereo signal.
Note: When the plug-in is in a mono-in configuration, the switch is locked in the MONO position.
Controls Link (2254/E Dual only)
This switch is a software-only addition that allows the two sets of controls for each channel to be linked for ease of operation when both channels require the same values, or unlinked when dual-mono operation is desired. The Link parameter is stored within presets and can be accessed via automation.
Tip: Click the control's text labels to switch to that value.
Unlink
When set to unlink (up position), the controls for channels one and two are completely independent. Unlink is typically used for dual-mono operation. When unlinked, automation data is written and read by each channel separately.
Note: When unlink is switched to link, channel 1 controls are copied to channel 2. Control offsets between channels are lost in this case.
Link
When set to link (down position), modifying any channel one or channel two control causes its adjacent stereo counterpart control to snap to the same position (channel 1 & 2 controls are ganged together in link mode).
Link Notes:
- When link is active, automation data is written and read for channel one only. In this case, the automation data for channel one will control both channels.
- When link is active, changing channel two parameters from a control surface or when in controls (non-GUI) mode will have no effect.
Headroom (HR)
Headroom enables adjustment of the internal operating reference level for the plug-in so that the plug-in is not "pushed" into gain reduction as much. Headroom enables best practice operating level matching, or it can be used creatively to expand the sonic range of the processor.
Note: The Headroom control does not exist on the original hardware.
By fine-tuning headroom, the nonlinear I/O distortion and compression response characteristics can be tailored independently of signal input levels. Increasing headroom (by rotating the control counter-clockwise) allows signals at the input to be pushed higher before they compress.
Headroom can be set (in dB) to 4, 8, 12, 16, 20, 24, or 28. The default value is 16 dB (when the set screw "dot" is in the straight up 12 o'clock position). Note that Headroom is increased as the dB value decreases.
Tip: Click the "HR" text label to return the control to its default value of 16 dB.
At higher dB values (clockwise rotation), signals will push the plug-in into gain reduction (and more non-linearity and "good" harmonic distortion color) more easily. Set the control to a lower value (counter-clockwise rotation) when less gain reduction and less color is desired.
Note: To avoid the temporary gain increases that can result when adjusting Headroom, automating this control is not recommended.
Sidechain Filter (HPF)
This knob, which is not available on the original hardware, controls continuously variable 12 dB per octave shelving filter. The sidechain filter allows removal of low-frequency content from the compressor's control sidechain, reducing excessive gain reduction and/or "pumping" on bass-heavy audio signals without reducing bass content of the audio signal itself.
To toggle the function, click the PULL/SC text, or shift-click the Threshold knob. When the Sidechain Filter is active, the Threshold knob is "lifted" and slightly enlarged.
Note: The sidechain filter only acts on the compressor's sidechain signal. It does not affect the limiter sidechain signal. While this filter can produce an audible change in dynamics behavior, it does not act directly on the audio signal.
At the fully counterclockwise position, the filter is defeated, and does not affect compressor behavior. As the HPF knob is rotated clockwise, the filter is engaged and its frequency sweeps between 20-500 Hz, allowing for a wide range of relationships between bass level and gain reduction.
Tip: Click the OFF text label to disable the sidechain filter. Click OFF again to return to the previous value.
Mix
A blended output balance between the signal processed by the plug-in and the original dry source signal can be adjusted with the Mix control. Mix facilitates parallel compression techniques without having to create additional routings in the DAW.
Note: The Mix control does not exist on the original hardware.
When Mix is set to DRY, only the unprocessed source signal is output. When set to WET (the default value), only the processed signal is output. When set to 50%, an equal blend of both the dry and wet signals is output. The balance is continuously variable, and phase accurate, throughout the control range.
Tip: Click the DRY text label to set the control to the minimum position. Click the WET text label to set the control to the maximum position.
Output
This control is a software-only addition not found on the original hardware. It is an overall clean gain stage at the output of the processor for level matching. The available range is 0 dB to +20 dB, in 2 dB increments.
Power
When Power is in the OFF position, the plug-in processing is disabled and UAD DSP usage is reduced (unless UAD-2 DSP LoadLock is enabled).
Use this switch when you want to conserve UAD DSP. For glitch-free comparison of processed and unprocessed signals, use the BYP switch.
Tip: Click the control's text labels to switch to that value.
Neve 33609 Controls
Note: Neve 33609/C and Neve 33609/SE controls are identical.
Limiter Controls
Limit Threshold
Threshold determines how much limiting will occur. When the input signal exceeds the threshold level, the signal above the threshold is limited. A smaller value results in more limiting. The available range is from +4 dB to +15 dB, in 0.5 dB increments.
If the compressor is enabled, the Compressor Gain in the compressor section will affect the input level into the limiter. In this case, the compressor gain can affect the limiter threshold response.
Tip: Click the control's text labels to switch to that value.
Limit Recovery
Recovery (release) is the time it takes for the limiter to stop processing after the signal drops below the threshold value. The available values (in milliseconds) are 50, 100, 200, 800, a1, and a2.
The automatic settings (a1 and a2) are program dependent. The value for a1 can be as fast as 40 ms, but after a sustained period of high signal level, the period is 1500 ms. The value for a2 can be as fast as 150 ms, but after a sustained period of high signal level, the period is 3000 ms.
Tip: Click the control's text labels to switch to that value.
Limit In
This toggle switch enables the limiter portion of the plug-in. The limiter has no effect unless this switch is in the "limit in" (down) position.
Note: Setting both Limit and Compress to OFF provides amplifier-only coloration.
Limit Attack
Attack determines how fast limiting will engage when the signal exceeds the limiter threshold. The fast setting is 2 milliseconds, and the slow setting is 4 milliseconds.
Compressor Controls
Compress Threshold
Threshold determines how much compression will occur. When the input signal exceeds the threshold level, the compressor engages. A smaller value results in more compression. The available range is from -20 dB to +10 dB, in 2 dB increments.
Tip: Click the control's text labels to switch to that value.
Compress Recovery
Recovery (release) is the time it takes for the compressor to stop processing after the signal drops below the threshold value. The available values (in milliseconds) are 100, 400, 800, 1500, a1, and a2.
The automatic settings (a1 and a2) are program dependent. The value for a1 can be as fast as 40ms, but after a sustained period of high signal level, the period is 800 ms. The value for a2 can be as fast as 150 ms, but after a sustained period of high signal level, the period is 1500 ms.
Tip: Click the control's text labels to switch to that value.
Compress Gain
This makeup gain control increases the signal level out of the compressor to compensate for reduced levels as a result of compression. The available range is 0 to +20 dB, in 2 dB increments.
Make sure to adjust the Gain control after the desired amount of compression is achieved with the Threshold control. The Gain control does not affect the amount of compression.
Note: If the limiter is also enabled, this gain is applied before the limiter stage.
Tip: Click the control's text labels to switch to that value.
Ratio
This control determines the compressor ratio. The available values are 1.5:1, 2:1, 3:1, 4:1, and 6:1, selectable in discrete increments.
Tip: Click the control's text labels to switch to that value.
Compress In
This toggle switch enables the compressor portion of the plug-in. The compressor has no effect unless this switch is set to the "compress in" (down) position.
Note: Setting both Limit and Compress to OFF provides amplifier-only coloration.
Compress Attack
Attack determines how fast compression will engage when the signal exceeds the compressor threshold. The "attack fast" (up) position matches the original hardware at 3 milliseconds. The "slow" position (down), which is unique to the UAD plug-in, is 6 milliseconds.
Tip: Click the control's text labels to switch to that value.
Other Controls
Mono/Stereo
This switch controls both the compressor and limiter sidechains.
Tip: Click the control's text labels to switch to that value.
When the plug-in is in a stereo-in configuration and the switch is set to MONO, both channels of the stereo signal are compressed/limited in equal amounts, preventing shifting of the stereo panorama. When set to STEREO, the amount of gain reduction is independent in each channel of the stereo signal.
Note: When the plug-in is in a mono-in configuration, the switch is locked in the MONO position.
Gain Reduction Meters
The Gain Reduction Meters indicate the amount of gain reduction that is occurring in dB. There is one meter for each channel. The gain reduction displayed is the total reduction of the limiter plus the compressor.
Note: The meter indicator moves farther to the right as more gain reduction is occurring. This meter behavior is different from that of many compressors.
Power
The Power switch determines whether the plug-in is active. This is useful for comparing the processed settings to the original signal, or to bypass the plug-in to reduce the UAD DSP load (load is not reduced if UAD-2 DSP LoadLock is enabled). The switch is illuminated red when the plug-in is active.
Note: You can click-hold the power switch then drag it like a slider to quickly compare the enabled/disabled state.
Sidechain Filter (sc filter)
This knob, which is not available on the original hardware, controls continuously variable 12 dB per octave shelving filter circuit in the compressor and limiter sidechain input. The sidechain filter allows removal of low-frequency content from the control sidechain, reducing excessive gain reduction and/or "pumping" on bass-heavy audio signals without reducing bass content of the audio signal itself.
Note: The sidechain filter only acts on the sidechain signal. While it can produce an audible change in dynamics behavior, it does not act directly on the signal that is output from the plug-in.
At the fully counterclockwise position, the filter is defeated, and does not affect compressor behavior. As the HPF knob is rotated clockwise, the filter is engaged and its frequency sweeps between 20-500 Hz, allowing for a wide range of relationships between bass level and gain reduction.
Tip: Click the OFF text label to disable the sidechain filter. Click OFF again to return to the previous value.
Output
These controls are software-only additions not found on the original hardware, providing an overall clean gain stage at the output of the processor for level matching. The available range is -2 dB to +20 dB, in 2 dB increments.
Tip: Click the "-2" or "20dB" text labels to increment or decrement the current value in 2 dB steps. Click the "output" text label to return to a value of 0 dB.
Controls Link
This switch is a software-only addition that allows the two sets of controls for each channel to be linked for ease of operation when both channels require the same values, or unlinked when dual-mono operation is desired. The Link parameter is stored within presets and can be accessed via automation.
Tip: Click the control's text labels to switch to that value.
Unlink
When set to UNLINK (left position), the controls for channels one and two are completely independent. Unlink is typically used for dual-mono operation. When unlinked, automation data is written and read by each channel separately.
Note: When unlink is switched to link, channel 1 controls are copied to channel 2. In this case, control offsets between channels are lost.
Link
When set to LINK (right position), modifying any channel one or channel two control causes its adjacent stereo counterpart control to snap to the same position (channel 1 & 2 controls are ganged together in link mode).
Link Notes:
- When link is active, automation data is written and read for channel one only. In this case, the automation data for channel one will control both channels.
- When link is active, changing channel two parameters from a control surface or when in controls (non-GUI) mode will have no effect.
Headroom (HR)
Headroom enables adjustment of the internal operating reference level for the plug-in so that the plug-in is not "pushed" into gain reduction as much. Headroom enables best practice operating level matching, or it can be used creatively to expand the sonic range of the processor.
Note: The Headroom control does not exist on the original hardware.
By fine-tuning headroom, the nonlinear I/O distortion and compression response characteristics can be tailored independently of signal input levels. Increasing headroom (by rotating the control counter-clockwise) allows signals at the input to be pushed higher before they compress.
Headroom can be set (in dB) to 4, 8, 12, 16, 20, 24, or 28. The default value is 16 dB (when the set screw "dot" is in the straight up 12 o'clock position). Note that Headroom is increased as the dB value decreases.
Tip: Click the "+" or "-" text labels to increment or decrement the current value. Click the "headroom" text label to return the control to its default value of 16 dB.
At higher dB values (clockwise rotation), signals will push the plug-in into gain reduction (and more non-linearity and "good" harmonic distortion color) more easily. Set the control to a lower value (counter-clockwise rotation) when less gain reduction and less color is desired.
Note: To avoid the temporary gain increases that can result when adjusting Headroom, automating this control is not recommended.
Mix
A blended output balance between the signal processed by the plug-in and the original dry source signal can be adjusted with the Mix control. Mix facilitates parallel compression techniques without having to create additional routings in the DAW.
Note: The Mix control does not exist on the original hardware.
When Mix is set to DRY, only the unprocessed source signal is output. When set to WET (the default value), only the processed signal is output. When set to 50%, an equal blend of both the dry and wet signals is output. The balance is continuously variable, and phase accurate, throughout the control range.
Tip: Click the DRY/WET text labels to increment/decrement the value by ±10%. Click the "mix" label to set the value to 50%.
Technical Article
The UA Webzine article below, originally published in August 2006, contains interesting technical details about the 33609/C. Most information herein also applies to the 2254/E.
Ask the Doctors: Modeling of the Neve 33609 compressor/limiter
By Dr. Dave Berners
This month, rather than answering a question, I want to talk about the modeling of the Neve 33609 compressor/limiter.
The Neve 33609 is a solid-state limiter/compressor that uses a diode bridge to accomplish gain reduction. The bridge is used in a shunt configuration, much like the FET in an 1176. Audio is applied across what would normally be the two AC inputs to the bridge. The incremental resistance of the bridge is altered by passing a DC current from the top of the bridge to the bottom, keeping all four diodes forward-biased most of the time. Conceptually, the gain control is similar to a variable-mu tube compression scheme, where bias points are altered according to the desired amount of gain reduction.
With variable-mu circuits, single-ended topologies can achieve compression, but have an undesirable artifact called thump, which is due to control signals coupling into the audio. The thump problem can be solved for variable-mu compressors by using a push-pull topology, so that a differential output can be taken from the circuit, while the control signal leakage is entirely common mode (for perfectly matched tubes). In the case of the 33609, the thump problem is solved in a similar way, by using four diodes, with the audio being a differential signal, and the control signal being common mode. To keep the circuits differential, multiple transformers are required, which increases the cost of production for units such as the Fairchild 670, Universal Audio 175, and Neve 33609; however, fidelity is much improved with this method.
The diode bridge gives the 33609 a unique sonic character. In terms of linearity, the diode is probably on the warmer end of the spectrum. At the clean end are optical gain reduction elements and VCAs. FETs can also be made to have low distortion by feeding a portion of the audio signal into the control port, as on the 1176LN. Variable-mu tubes and diodes are less clean, and can be anywhere from barely noticeable to very warm, depending upon circuit topology and biasing. Because diodes can be used for clipping, many people associate diodes with large amounts of distortion. However, as used in the 33609, the diodes are forward biased virtually all of the time, and the distortion due to the diodes is minimal, leading to sonic warmth rather than excessive distortion. The result is a very distinctive but pleasant sound that is achieved by no other circuit.
The other unique feature of the 33609 is the Auto Release function. In most cases, auto release is accomplished by making the release circuit a second-order filter, leading to a variable release time depending upon input signal statistics. The second-order release is used by compressors such as the 1176 and the Fairchild 670 (in modes five and six). For the 33609, auto release is also accomplished by a second-order filter, but a nonlinearity placed within the filter changes the behavior of the circuit. Because of this nonlinearity, the 33609 Auto Release behaves differently from other compressors.
When creating the DSP-based emulation of the 33609 for Universal Audio, we were given tremendous support from Neve, which provided access to engineering documents, as well as hardware units that we could disassemble for testing. Because of our ability to test subcircuits independently, we were able to produce highly detailed and accurate models of the 33609 circuits, resulting in a very good match for both the audio path and the sidechain of this compressor. The 33609 has more significant, distributed nonlinearities than any other unit we have modeled, and we collected much more data than ever before to model those nonlinearities. The result is a DSP model that, while costly, should accurately reflect the behavior of the hardware in any situation.
As with all compressors, the attack and release behaviors, as well as the static compression curves, critically affect the sonics of the device. The diode bridge of the 33609 will add nonlinear processing through an entirely different mechanism than the gain reduction, and this processing is also important to the sound of the unit. Not only will transients be affected by the behavior of the diode bridge, but the nonlinearities will create additional harmonic energy in the steady-state signals.
Modeling the diode-bridge behavior requires upsampling the audio path, which adds considerable expense to the algorithm. Because of this, we chose to implement two versions of the 33609. The full version includes complete models of the compression characteristics, as well as all relevant nonlinearities in the audio path. A second version, the 33609SE, will include the full dynamics-processing model, but will not include all of the signal-path nonlinearities, greatly reducing DSP cost. The SE version will sound very similar to the full version for many sources and, in all cases, will provide a useful and unique addition to the range of compressors available on the UAD.
The original Neve Dynamics Collection hardware
All visual and aural references to the Neve® Preamp, 1073, 1084, 1081, 31102, 88RS, 2254, and 33609 products and all use of AMS-Neve's trademarks are being made with written permission from AMS-Neve Limited. Special thanks to Woody Jackson, David Walton, Mark Crabtree, David Kulka, David Clark, and Vintage King.