New Rupert Neve Designs The Color XL Bundle | R10 Rack (2) 542's & (2) 535's

Sale price$4,695.00


Rupert Neve 542 - Tape Emulation

The ultimate “color box”.
In addition to the 100% analog tape emulation 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, variable Silk Red & Blue for an infinite variety of transformer tones, and a blend control to dial in in the perfect amount of saturation.

Transformers Imitating Tape
Unlike digital emulations, the “True Tape” drive circuit works by feeding a custom-designed interstage 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.

What is Silk?
In addition to the tape circuit, the continuously variable Texture control with Silk Red and Silk Blue modes provides a whole other level of control over the harmonic density and tonality of your tracks & mixes. The Silk Red mode accentuates transformer saturation in the high and high-mid frequencies to amplify the vibrant midrange harmonics associated with Rupert’s vintage equipment, while Silk Blue accentuates saturation of the lows and low-mids to add thickness and weight to any source – especially useful for “thin-sounding” tracks or mixes. Unlike EQ, these Silk & Texture controls saturate the output transformers, and add highly musical harmonics to the source material according to the amount of Texture applied.

Drive the 542 hard, choose your Silk flavor, and crank the Texture knob for a rich, saturated, vintage vibe – or disengage Silk entirely for a more purist, hi-fi tape effect. The choice is yours.

535 - 500 Series Diode Bridge Compressor

Punchy, thick, and versatile.

Originally developed for the dynamics circuit of the acclaimed Shelford Channel, the 535 Diode Bridge Compressor captures the soul of Rupert Neve’s original 2254 compressor while providing modern updates including advanced timing control, significantly lower noise, fully stepped controls throughout, and internal parallel processing capabilities.

“It makes things sound bigger, bolder, and (in my opinion) more interesting.”



What is diode bridge compression?

Where the VCA compressor found in the Master Buss Processor provides unmatched clarity, the weighty, harmonically rich tonality of diode bridge compression can be essential in pushing key sources like vocals, electric guitars, bass and drums to the forefront of a mix.

By understanding the limitations of vintage units like the legendary 2254, painstaking effort was taken to reproduce the unique tone of these classics while improving the noise floor & accuracy, expanding inflexible time constants, adding full wave sidechain detection for improved dynamic response, and widening the range of threshold and ratio controls.


“A diode bridge is a very unique sound characteristic compared to other types of compressors. It is possible to create a cleaner sounding diode bridge than we have here, but we were after a particular flavor of harmonic content. As soon as you hear the sound, you know exactly what it is.”

-Dennis Alichwer 
Engineering Manager, Rupert Neve Designs


A 31-position detented pot that sets the level at which compression begins, from -25dB to +20dB. Turning this control counter-clockwise will increase the amount of compression; turning it clockwise will decrease the amount of compression.

The RATIO control has six selectable positions on a rotary switch, allowing the user to set the slope of the compressor curve with pre-selected ratios of 1.5:1 through 8:1 for levels above the determined THRESHOLD. This range of compression ratios allows the user to compress as moderately or heavily as desired.

The unified TIMING control is a six-position rotary switch that sets the compressor attack and release times. The timing can be further modified by the FAST button.

FAST (TC1) – Fast Attack (750 μs), Fast Release (130 ms)
MF (TC2) – Medium Attack (2.25 ms), Fast Release (130 ms)
MED (TC3) – Medium Attack (2.25 ms), Medium Release (400 ms)
MS (TC4) – Medium Attack (4 ms), Slow Release (725 ms)
SLOW (TC5) – Slow Attack (10 ms), Slow Release (800 mS - 1 S)
AUTO (TC6) – Medium Attack (5 ms), Dual Release (T1 500 ms, T2 1s)

The FAST switch speeds up all compressor time constants by 30%, effectively doubling the number of TIMING presets available to the user.

The BLEND control has 31 detents and allows the user to mix the uncompressed (dry) signal with compressed (wet) signal. Turning the control towards 0% will shift the mix to fully uncompressed dry signal, whereas turning the control towards 100% will shift the mix to the fully compressed signal. This feature allows for parallel compression, enabling a wide range of compression subtlety.

The GAIN control has 31 detents and allows the user to add make-up gain to the compressed signal in order to bring its level back up to unity with the uncompressed input signal. It is much easier to evaluate the tonal effect of the compressor (via the COMP IN switch) when the compressed output level is matched to the uncompressed input level, thereby eliminating potentially misleading level differences.

The COMP IN switch engages the compression circuit. By disengaging the COMP IN switch, the compressor is bypassed and the user can quickly compare the compressed sound to the dry input signal for an objective evaluation of the compressor’s sonic effect on the audio signal.

The LINK switch allows the compressor to be linked to another 535 compressor module via a side chain control voltage. In link mode, the compressor generating the greater side chain voltage (resulting in higher amounts of compression) will control the compression of both audio signal paths to maintain proper stereo center image while compressing.

The S/C HPF switch allows the user to insert a 12dB/octave 150Hz high-pass filter in the compressor side chain. When this filter is engaged, the compressor will be considerably less responsive to information below 150Hz. For example: if used on a drum kit, the low end of the kick drum would have less proportional effect on the compression than a snare drum or cymbals, since a significant portion of the kick drum’s dynamic energy is focused below 150Hz.

These two LED meters provide highly accurate representations of both the output level of the compressor and the amount of gain reduction being applied to the input signal.

Delivering the powerful sound of these iconic designs with enhanced flexibility for the modern age, the 535 Diode Bridge Compressor is a dynamic tool equipped to make a bold statement on virtually any mix or track.



“The 535 has changed my world on bass guitar. It sounds great on everything, however on bass, nothing has brought the bass guitar out of the mix like the 535. It gives this richness, texture and weight. It just sits thick and juicy, and it doesn’t step on the mix, it just fattens it and thickens it. It’s a fantastic compressor.

Andy Meyer
Justin Timberlake, Madonna, Bruno Mars


I’m loving the new 535 diode bridge compressor. To be able to have a compressor that sounds this massive, with a blend knob, is a 500 series rack is an audio dream come true…. I’d like to have 20, please!

Greg Wells
Katy Perry, Keith Urban, Adele


“The RND 535 could be a significant addition to your mixing toolbox that will surely help inject some life, while solidifying those mix elements that need a hand. Looks great. Sounds great. Easy to use.”

Tape Op



Rupert Neve R10

Not all racks are created equal.

With abundant power and unrivaled build quality, the R10 delivers peace of mind for engineers who demand a higher degree of confidence in their 500 series racks.


...I haven’t given the rack a second thought because I’m focused on making music...that to me is a really good sign.



Power You Can Trust

Power-wise, the R10 has more than 150% the required current for a 10-space chassis to prevent the power rails from failing under a higher-than-expected load. To help monitor and troubleshoot problematic modules, the R10 is equipped with LED current metering to show how much power is being used. The internal power supply itself has been carefully designed and double-shielded to avoid significant magnetic induction in any of the channel positions. With such attention to providing and monitoring power, the R10 helps your modules realize their fullest potential.

To ensure many years of use, the chassis is made of solid steel with sliding nuts to accommodate various manufacturers’ 500 Series modules. And of course, all connectors and fittings are of the very highest quality.

A New Level of Confidence in the 500 Series

Because the R10 is built to official 500 Series specifications (surprisingly, not all racks are!) it will work flawlessly with any properly-designed 500 series module you wish to include in it. To help accommodate modules that are slightly out of spec, the R10 has variable-position screw holes to help make the installation process as smooth as possible.

The 500 series VCA buss link function can also be enabled in pairs on the R10 using the link jumpers on Channels 1-2, 3-4, 5-6, 7-8 or 9-10. Enabling link allows compatible compressor modules like the 535 or 543 to share VCA control when their links are enabled. Matching blank panels are also available to cover any empty slots.

If you want to get the very best performance out of your 500 series modules, the R10 is the serious rack for the serious sound you want.



Each card slot is designed to fit a standard 500 series module. Even with modules that overdraw the 500 Series specification, the R10 has more than enough reserve power to maintain proper voltage.

There are three link jumpers, which can be individually set to allow VCA linking on Channels 1-2, 3-4, 5-6, 7-8 and 9-10. The link function is typically used to link the gain reduction of two compressors (such as our 543 or 535 modules).

An LED meter monitors the R10 current usage to ensure that you never run short on power. This meter can also be useful for troubleshooting a module that is severely overdrawing its allotment.

Provide rock-solid phantom power to your microphones with the R10’s 48V buss.

Each channel features a balanced XLR and TRS input, which are wired in parallel.

Each channel features a balanced XLR & TRS output.

The IEC power input accepts 100-240VAC, 50/60Hz input.

A solid steel enclosure with ultra-strong rack ears gives you the confidence you need to take your 500 Series gear out on the road.


“I ordered one, and after using it, I realized that there were several important design features in this rack that I had previously neglected or underestimated…It's always a good feeling when your appreciation for something continues to grow after the purchase — which is so infrequently the case.”

“While calibrating the various modules in my system using a spectrum analyzer, I noticed that the modules placed inside the R10 — and especially those that were replicating vintage electronics that I have in a standard 19'' rack — had incredibly quiet noise floors. Not a trace of 60 Hz or any of its harmonics. And even fully loaded, the RND frame never gets warm to the touch. It just sits there laughing no matter what I throw at it. You can count me in as a satisfied customer of the Rupert Neve Designs R10 500-series frame.”

Chuck Zwicky / Tape Op


“Everyone including the factory cat seems to offer a range of 500-series modules these days, and these and the PSU/chassis required to host them are available at a wide range of prices and with all manner of facilities. But very few stand comparison with these Rupert Neve Designs offerings in terms of the engineering and build quality, and the sheer elegance of the finished product.”

Hugh Robjohns / Sound On Sound

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