Music industry marketplace ANALOGr is supervising the online auction of a rack of 16 Neve 1057 modules that came from a 16-input, 8-outpug Neve mixing console shipped to the manufacturer’s first U.S. client, Sound Studios in Chicago, in 1968.
The console, a predecessor to the 80 Series manufactured by Rupert Neve, was subsequently sold to Tom Wright in Atlanta, who racked the modules and eventually sold them to noted producer, engineer, composer, and arranger Michael Beinhorn in 1995.
The Neve 1057 mic pre/EQ modules and ancillary gear come from the private collection of Beinhorn. The console processed some of the most iconic albums of the 1990s and early 2000s and is considered by many to be the epitome of all vintage drum tones.
Beinhorn recalls, “I first encountered these 1057s in a studio called Southern Tracks in Atlanta, GA, and I remember the moment that we put a U47 FET mic on the kick drum. We opened up the channel on their SSL, and the sound that came through that fader was the most vibrant, present, transient bass drum sound in my entire life. It made the speakers shudder, these tiny little NS10s.”
Beinhorn’s historic Neve modules were used in the recording of albums such as Soundgarden’s “Superunknown,” Marilyn Manson’s “Mechanical Animals,” Hole’s “Celebrity Skin,” Ozzy Osbourne’s “Ozzmosis,” and Korn’s “Untouchables,” among many others.
Beinhorn continues, “On every project that I worked on, there was always a new mic pre that someone had found, and I would always try them, and we’d always look at each other at the end of the test and say, ‘Nope. 1057s are still better.’ Because they always were. And guess what? They always will be.”
Recently, Beinhorn has put his focus into his latest venture, Beinhorn Creative, through which he remotely works with artists to best record their work while helping them to navigate the never-static music industry. Go here to check out the listing on ANALOGr.
