PRODUCT
OVERVIEW
An
introduction from Rupert Neve
I
met Billy Stull soon after Evelyn and I came to live in Wimberley
in 1994. He is a man of many interests but has always had
a strong feel for high quality music recording.
Soon
after he started a mastering studio I began to realize that
Billy had "golden ears". But when he talked to
me about what he wanted to do I thought he was joking.
"A little bit of tape texture ? Some Classic flavor. Can
we take the edge off this sound without touching the rest?
How about getting some space around it? Let's move our seat
to the back of the hall."
"That's
not Pro Audio talk" I told him. But I got interested
listening to what he was trying to do with his available
gear and the Masterpiece started to evolve.
The MASTERPIECE is
a two-channel collection of entirely analog processing modules,
four modules for each channel and these are series connected
on a "daisy chain" buss. The modules are fully
enclosed (reminiscent of my original Console designs) and
are fitted in a 6 U rack-mounting frame that carries the
inter-connection back plane, the power supply and a fixed "master" module.
All
the modules have identical rear connections. Their locations
can be changed around as required, even "hot plugged".
For example, the compressors can be inserted ahead of EQ
etc.
Each
individual module has an "IN" switch that
lets that module be bypassed.
THE
"MASTER" MODULE
This
unit is essential to the operation. It is fixed at the right
hand side of the rack. It houses the main input and output
circuits for the two channels: gain controls, a pair of bar-graph
level meters, a pair of high and low pass filters and the IMAGE controls.
At the bottom of the module are the two Master Bypass Push-Buttons,
When pressed they turn red to remind you that although the
meters and main Gain controls are active, all the processing
is bypassed.
The
main inputs to the MASTERPIECE are instrumentation amplifiers
arranged in my well-known
"Transformer-Like" configuration. These provide a
10K bridging input with very high impedance from each leg to
ground and thus have good CMRR.
The
main outputs make use of toroidal transformers that are a
development of the original designs I used for the AIR Montserrat
consoles. The audio path, without any processing switched
in, is virtually distortion free right up to the clipping
point at well over +26 dBu. The MASTERPIECE can be relied
upon to interface freely with any other Pro Audio gear and
is unmindful of whether the source or load is balanced or
unbalanced.
BAND
SPLITTING
One
of the important features of the MASTERPIECE is the 3 band INPUT
FILTER system that is used everywhere except, of course,
on the Equalizer sections themselves.
A
choice of High Pass, Band Pass and Low pass filters is available
for insertion into the path of MASTERPIECE Processing blocks:
TAPE TEXTURE, AUX SEND, VARI-PHASE, CLASSIC, and COMPRESSOR.
When
all three INPUT FILTER Push-Buttons are pressed, the mixed
outputs of the filters are combined and mixed to the signal
return path.
The
filter slope is 12 dB/Octave and the crossover frequencies
are defined at - 3dB.
High
Pass and Low Pass Filters produce opposite phase polarities.
In order to obtain a flat frequency response over the whole
audio band when they are mixed, it is necessary to invert
the phase of the mid or Band Pass section. (Similar to the
problem in loudspeaker crossover networks). So a Phase Invert
Push-Button is provided for the Band Pass filter.
The
effect of doing this can be heard on some program material
- depends on whether the signal content tends towards a sine
wave, as with a soprano voice or whether there is large harmonic
content that spreads into adjacent frequently bands.
This
phase reversal over a limited range of frequencies can produce
some interesting spatial effects particularly when the IMAGING
features are used.
A
choice of two crossover frequencies is provided. The complementary
LP and HP crossover filter frequencies are both shifted to
produce an overall flat response regardless of the crossover
frequency chosen.
From
the Desk of Mr. Rupert Neve January, 2005
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What
is the difference in the EQ in the Masterpiece and your
previous designs?
(a quote from Mr. Rupert Neve)
Equalizers... Books have been written about equalization, filters
and tone controls or whatever they may be called. For many years I have designed
and manufactured equipment using a large variety of circuits and each new product
is gone through carefully, measuring and listening, to see if I can squeeze
some small new advantage from a proven favorite! If I were to provide detailed
circuits they would not necessarily sound like mine if built by others because,
mainly, of the context in which they are used. I've seen more than one alleged "copy" which
claims that it sounds the same as or better or ???
Well,
this sounds trite, but I firmly believe that every designer
is a creative artist and creates the best he can. Whether
he acknowledges it or not, he has talent, like a painter
or musician, that are gifts from his or her Creator. His
(her) handwriting is on it. Indeed the very personality of
the designer, is reflected in the design. If someone copies
the design it is a forgery. What does that reflect? To the
bank manager looking at a forged cheque, it is easily recognized
as such. To the normal person who trusted in the value of
that cheque, it is real until he tries to cash it and the
bank informs him otherwise!
However,
in recent years I have had the privilege of knowing Billy
Stull. Billy has the most amazing gift of sound perception.
Not only can he tell the difference between two very similar
circuits, transformers or components, but he can articulate
the difference in terms that are meaningful to a circuit
designer. When Billy describes what he hears, I return to
the design bench to adjust anything of which he may have
been critical. In a nutshell, difference between new EQ and
other circuits from my past are due to Billy's special gift.
Product
Overview by Billy Stull
After many years and tons of mastering projects, I wished for
more capabilities to deal with a diversity of incoming quality.
The Masterpiece is a realization of my wish list and I am still
blown away at the fortunate circumstances that allowed me to
work with Mr. Neve to create this wonderful mastering and mixing
instrument. It started out as a custom box for my own use,
so there was no cost compromise on components. It is full of
custom elements, hand work, old-school through-hole circuit
assembly, and anything required for ultimate performance was
designated. The only limitation was space and the unit is jam-packed
with circuits and components. Mr. Neve commented that there
is more circuitry designed in the Masterpiece than his previous
large consoles. All this is costly, but It is what is required
for the performance level that we have achieved. It wasn't
a bunch of guys in a boardroom saying "What can we build
cheaply and make a bunch of money?" This is the best that
can be designed and built today and is made to take music to
the next level, not please the bean counters. Stringing a bunch
of boxes together has been the format for mixing and mastering,
but now there is a system with one common power supply and
an integrated work flow. However, the Masterpiece is not restricted
and does allow for expansion by a carefully designed interface
to other out-board gear with the bonus of being able to use
that gear in a multiband application. We do sell the unit short-loaded
if not all of the modules are required or as a way to get into
the unit and purchase additional modules at a later time. A
easy lease/purchase program is available as well.
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