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Neve 33609/N Stereo Compressor
The best of both worlds: original Neve 33609 sound with enhanced I/O switching
The Neve 33609 N is a two-channel compressor, with the same hand wired transformers, and feedback circuit as the classic Neve 2254. The 33609 N is the ideal compressor for the stereo bus on audio mixing and mastering, as well as broadcasting applications. It offers a very transparent compression with its 1.5:1 ratio setting, or can be slammed up to 6:1 to get as much attitude as you desire, commonly used on drums, vocals, pianos, and other acoustic instruments. Overall compression is displayed by the front panel, moving coil meters.
Each compression channel has threshold, release, makeup-gain, and ratio controls. The makeup-gain circuit is great for adding a little more grit and warmth to any source, and can be used even if no compression is needed. Each channel is also equipped with a brick wall limiter that has threshold, and recovery controls, which is placed after the compression circuit. You can choose to bypass the limiter completely if you wish.
33609 N can be run in a linked stereo mode, or as a dual mono compressor. Dual mono is ideal for a mix that has a lot of dynamics between the right and left channels.
Classic stereo compressor/limiter designed to exacting 1970s specifications
Made using hand-wired Neve transformers in Burnley, England
Classic 2254 feedback compression circuitry
Brick wall limiting
Transparent level control
Perfect for mixing, broadcast, and mastering applications
Described in the marketing materials as a desert island compressor, the Neve 33609N has truly surprised me by delivering flawlessly on that claim. It has become an essential tool in my mastering chain and is now the compressor I mix into by default.
I’ve used it to track and/or reamp bass, drums, guitar, and vocals - the simple attack controls and musical release options make setting up the chain super quick and super satisfying. On the master bus I’ve got my setting pretty much dialed in track to track across genres and only need minor adjustments - the stepped controls and switches make for quick A/B testing and are perfectly matched across channels in both stereo and dual mono modes
As a tone box it makes it’s way into every mastering session - though I usually end up with some gain reduction, even with the needle moving imperceptibly, there is a cohesive attribute that just works
My favorite aspects are the 100Hz filtering in the slow attack mode, the glue of the a1 release, and the transformers
In all, I regret not making this purchase sooner - it sounds great!
These Black Friday deals are no longer available, please click here to shop all current 2019 Black Friday promos.
Black Friday, the day itself, might be over, but we are far from done offering savings over at Vintage King. Our Black Friday Sale continues on until December 3rd with so many ways to save!
Whether you’re looking for subtle glue on your mix bus, tight transient control on your tracks, or downright dirty parallel compression, we’ve got you covered this Black Friday with crazy deals on some of our most popular compressors. Continue reading →
Chris Coady has been producing, mixing and engineering your favorite records for decades. He has become known for his work with indie rock icons like Beach House, TV on the Radio, Yeah Yeah Yeahs and more.
We recently had the chance to chat with Chris for our ongoing 20 Questions series. Read on to learn more about his philosophy on producing, his affinity for vintage dynamic microphones and how he uses old VCRs to spice up his mixes. Continue reading →
Serge Espitia is a mastering engineer out of Maplewood, New Jersey. With over a decade of experience in the music industry, he has spent time working in some of the most recognizable studios in the world, including Blue Jay Recording in Boston, and East Side Sound, Stratosphere Sound and Masterdisk in New York.
In 2011, Serge began putting together his own Brooklyn-based studio space under the banner of Tiny Thunder Audio. Eventually, he headed to New Jersey and shifted focus from tracking and mixing to predominantly mastering.
Recently, we sat down to talk with Serge about the history of Tiny Thunder, his philosophy on mixing vs. mastering, and some of the gear choices that he’s made for his studio. Continue reading →
A version of this interview with Erin Tonkon was previously published in PLAYBACK Issue 002. Be sure to check out the entire issue here.
Erin Tonkon broke into the world of engineering at a young age and started learning under the best at NYU's Clive Davis Institute of Recorded Music. During her studies, the budding engineer began working with production legend Tony Visconti and the duo were at the helm for releases from David Bowie, Esperanza Spalding and The Damned. Erin has continued to amass an incredible discography of work, including mixing albums for Sad13, Richard Hell, Rosie Tucker, Lady Lamb and more. Read on to get the inside scoop on five favorites from Erin's career so far. Continue reading →
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