The Biggest Neve
in the Rockies

The AMEK 9098i grew out of a decade-long collaboration between AMEK and Rupert Neve. Its ambition was to carry the musical character of classic analog consoles into a more flexible recording and mixing desk. At World Famous Studios, it’s the instrument Pete works through every day—from shaping the first microphone signal to bringing the whole record together.

72 channels · 144 inputs
64 mic preamps · 138 moving faders

Start with the console

The AMEK 9098i’s microphone preamps are central to Pete’s recording approach. He uses the console’s input stages and EQ to shape the sound as it is recorded.

Its four-band EQ combines sweepable mid bands with switchable shelving and bell responses. Glow and Sheen contours offer broad shaping at the low and high end, alongside more precise adjustments. It gives Pete room to shape a sound at the source and carry that approach through the mix.

Rupert Neve’s 9098i design

Developed by AMEK in conjunction with Rupert Neve, the 9098i uses his Transformer-Like Amplifier input design. Its microphone inputs were designed for low noise, strong rejection of interference and room for large signals. Custom transformers are used in the console’s main outputs.

The inline channel layout provides separate channel and monitor paths, with flexible EQ assignment between them. That routing lets the desk handle recording and playback together, then become the center of an analog mix.

Build a mix you can return to

Supertrue V4 provides fader and switch automation. Recall assists with restoring settings; it does not mean every physical knob moves itself. Those tools help preserve the work as a mix develops.

At WFS, the desk works alongside analog outboard, effects, tape machines and Pro Tools. Pete mixes through the console, with most mixdowns going to half-inch tape. The value is in how the whole chain works on the music.