AMS Neve

AMS Neve

September 2007—The AMS-Neve ( DFC PS/1 PowerStation is a single-user, slim-line, 384-path version of the company’s DFC Gemini post console. It integrates with Pro Tools, Nuendo or Pyramix environments as a combined digital console/DAW controller. Full surround monitoring and machine control are standard, as are support for sample rates up to 384 kHz, Star Command simultaneous control of multiple workstations, high-resolution TFT metering, 384 fader paths, reconform from picture change lists and insertion of premixes into larger mixes.

November 2006—AMS-Neve celebrated its 45th anniversary by launching the PS/1 PowerStation, a single-user, slim-line, 384-path version of the DFC Gemini post console. The PS/1 integrates with Pro Tools, Nuendo or Pyramix environments as a combined digital console/DAW controller.

October 2006—The DFC PS/1 PowerStation features unbeatable Neve sound, sample rates up to superhigh-definition 384kHz, Star Command simultaneous control of multiple workstations, high-resolution TFT metering, 384 fader paths, reconform from picture change lists and insertion of premixes into larger mixes. PS/1 is a complete system with integrated surround monitoring and machine control. The DFC Gemini and PS/1 are the power behind world cinema.

September 2006—AMS-Neve is shipping its digital 88D music console, which combines a 1,000-track, 96kHz DSP engine with Neve preamps and multisource 8.1 monitoring, Pro Tools/Pyramix/Nuendo integration and classic EQ/dynamics plug-ins. At AES Paris, the company added WavTrak waveform display to the 88D package and debuted the DFC PS/1 PowerStation console, a single-operator, lower-cost version of its DFC Gemini film board for pre-dub/pre-lay and print mastering.

July 2006—The DFC PS/1 PowerStation from AMS-Neve is a single-operator, lower-cost version of the DFC Gemini console for predub/prelay and print mastering.

February 2006—These two new post-production consoles from AMS Neve both offer a new central panel and touch-sensitive controllers, giving engineers total control over monitoring, source and surround mixing. Both boards also feature eight assignable faders that can be used as group, stem, aux or master faders — or additional input channel faders. The difference between the two is that the MMC 400 is fitted with conventional channel strips while the MMC 300 offers a knob-per-function assignable channel. Both consoles are Dolby-compliant and offer Encore automation with Encore Plus as an option. Other features include automation reconform; offline automation editing; and control of Pro Tools, Nuendo and Pyramix workstations through HUI and Oasis protocols. The consoles support high sample rates and up to 1,000 paths from a single rack. Priced per configuration.

December 2005—Hot from the show floor at AES, Neve’s newest digital console is the 88D. The new desk offers 1,000 tracks at 96 kHz, classic Neve preamps, dedicated 8.1 surround monitoring of multiple sources and the latest version of the Encore Plus automation. Integration of Pro Tools and Nuendo is a snap via the HUI protocol, as is Pyramix via Oasis. Also featured are Neve’s EQ and dynamics plug-ins, as well as DXD mixing and 40-bit, floating-point processing.

October 2005—AMS Neve announced its digital 88D music production console, which combines a 1,000-track, 96kHz DSP engine with Neve preamps, multisource 8.1 monitoring, Encore Plus automation, Pro Tools/Pyramix/Nuendo integration, classic EQ and dynamics plug-ins, and the power of 40-bit floating-point processing. But what really turned heads at AES was its 8816, a 16×2 (and cascadable for more) summing box in a 2U case. Sweet!

October 2005—The 88D music production console brings the legendary Neve sound to contemporary music production with power, control, flexibility and integration. A powerful 1,000 track, 96kHz DSP engine combines with Neve preamps, 8.1 monitoring of multiple sources and Encore Plus automation. Pro Tools, Pyramix and Nuendo are integrated for total control of the mix environment. Hi-def I/O and 40-bit floating-point processing provide the ultimate digital mix. Classic EQ and dynamics plug-ins ensure that the 88D retains the true character of the classic Neve sound.

AMS-Neve MMC12
October 2004—Priced from around $120,000, the MMC12 digital console combines a small-footprint 12-fader mix surface controlling up to 500 signal paths at 48 kHz or 250 signals at 96 kHz. Encore automation (compatible with the 88R and DFC) is standard, along with full surround monitoring/mixing (up to 7.1), onboard multi-machine transport control/synchronization, and each fader can be mono/stereo/5.1/etc. Other features include Neve’s famed preamps, EQs and compression (40-bit floating point) and the flexible MIOS96 I/O system.

September 2004—AMS Neve has paired its speed-supercharged DFC Gemini™ digital film console with the CineFile™ dubber, combining the mixing/recording/editing process into a single integrated solution. The board’s innovative WavTrak™ display of audio track data provides the user with level and dynamics metering, graphical EQ curve and audio waveform information on each channel for a track-by-track graphical display of CineFile data. Additionally, events can be nudged backward/forward in time from the DFC surface, offering users a very tactile feel when slipping tracks. StarNet™ Networking, unique intelligent cue storage, seamless integration with FX libraries, IP networking to studio infrastructure, facility-wide automated backup/restore, multimachine control and Encore automation complete the package.

April 2004—Now shipping, the DFC2 digital film console redefines the art of mixing for film. Enhancements include Version 3.0 Encore automation with EDL automation conforming. Fiber-optic meter backlight technology brings variable brightness for viewing the channel strips. A Banks feature recalls six sets of surface layouts at the touch of a button. DSP provides up to 8-band EQ, filter and dynamics (including an automated multiband compressor) — all with legendary AMS Neve sound. Also standard are touch-sensitive controls, versatile machine control, multi-partition mixing and integrated MADI routing.

April 2003—AMS Neve now offers a further leap forward for leading studios with the DFC2, combining proven DFC facilities with powerful new features that set a new benchmark for creative film mixing. Unrivaled EQ, filter and dynamics ensure that the DFC continues to offer the legendary AMS Neve sound, while the industry-proven Encore automation offers compatibility between AMS Neve’s portfolio of products including Neve 88R, Logic MMC and Libra Series consoles.

October 2002—Neve’s successful 88R console is enhanced with new features and options: The cue mix output capacity is doubled; aux buses can be split at the center of the console for independent left-/right-hand side outputs; a mappable, automated dual-joystick option simplifies complex stereo and 5.1 pan movements; stereo panning is automatable; phantom center panning on the LCR bus is offered; external signals can be introduced directly on the mix buses; the remote mic amp control software is enhanced; and more. Also, the 88R’s Remote Mic Preamps (shown above), which are already in use with 88R consoles worldwide, are now offered as stand-alone modules. TO READ THE “TECHNOLOGY SPOTLIGHT” FEATURE, CLICK HERE.

June 2002—Intended for post, film, DVD and music production, the new Logic MMC console from AMS Neve is based on the popular Logic 2 digital audio console, but combines features from its legacy of music and DFC film consoles. Designed to provide the familiar work environment and Encore automation used in its VR, Logic and DFC consoles, the board adds a new suite of 96kHz-capable I/Os, DFC-style monitoring, full machine control and up to 500 signal paths available at 48 kHz.

September 2001—AMS Neve has launched the new Logic 3SC 5.1 audio post system, a fully networkable post workstation designed for high-speed editing and mixing. The 64/128-input, menu-free mixing console provides the inputs, outputs and automation necessary for fast and efficient creation of complex mixes. New editorial tools include the DSP ToolBox range of advanced DSP plug-ins, and the system is capable of managing simultaneous multi-version mixes. Surround monitoring is supported.

June 2001—New features for the AMS Neve Libra Live Series II digital broadcast mixers include a metering package that displays two layers of inputs simultaneously; a second center-channel strip for easier access to channel controls from either side of a large desk; and Version 2.7 software, which improves mix-minus control, expands Dolby E support and simplifies surround operations.

June 2000—No stranger to broadcast mixers, AMS Neve showed its Libra Live Series II at NAB, which combines the ease of use of a conventional analog console with the advantages of a digital control/digital signal path. It includes 24-bit analog and digital interfacing, along with various multiformat surround options with mix-minus, GPI and other broadcast-specific facilities. During a CBS TV demo, we saw them pull the plug and reboot in 10 seconds, while audio continued passing through.

June 1999—ESP, a new platform for AMS Neve digital consoles, comprises powerful processing cards with 21 custom AMS Neve ASICs controlling nine DSP chips on a single card, which takes the load off the DSP for faster processing. Developed to provide the processing power for the company’s three-operator DFC board, ESP is a scalable, 96kHz-ready architecture that can be used with either large or compact AMS Neve consoles.

June 1999—At NAB, AMS Neve introduced the Libra Post console, designed to bring the power and functionality (including automation) of Neve’s Digital Film Console to video post. Available in 24/36/48-fader frames, the scalable-architecture Libra Post controls up to 96 channels and provides monitoring and matrix/processing inserts for up to 8-channel surround. Libra Post also features AMS Neve’s new 96kHz-ready proprietary processing platform, ESP, which comprises processing cards featuring 21 custom ASICs powering nine DSP chips.