AMS Neve has released a detailed video walkthrough of the 88M microphone preamp and the 88C VCA compressor, and if you work with hardware on your recordings or mixes, it's worth setting aside twelve minutes to watch it.
The premise is straightforward: both units are designed around the same circuits found in the 88RS console, the desk you'll find at Abbey Road, Capitol, and most of the world's top rooms. The 88RS is known for having to sound good on anything from orchestral scoring to hard rock, and the 88M and 88C bring that same preamplifier and VCA compression to a compact, USB-C bus-powered desktop format. No external power supply required.
What's New on the 88M
The video opens with the updated 88M, and AMS Neve uses it to walk through the feedback-driven changes made to this version. The switch to USB-C is the obvious one, making it compatible with current studio cabling without adapters. There's now a dedicated power switch on the rear, so you can leave the unit connected while your computer sleeps and power it down independently. The headphone amp has been improved, and the monitor controller has been adjusted for better attenuation at low listening levels.
The headline addition, though, is the DAW input mode. The 88M's Marinair transformers have always been in the signal path on mic, DI, and line inputs, meaning they've always been available for tracking. The new DAW mode extends that to mixing. You can now route audio from your DAW back through those transformers, apply compression via the 88C on the insert loop, and reprint the processed signal back into your session. It's a straightforward hardware recall workflow that doesn't require any outboard routing beyond the two units themselves.
The 88C VCA Compressor
The 88C shares the same form factor and bus-powered setup as the 88M, and the video dedicates a solid portion of its runtime to explaining the compression circuit in detail. The VCA compressor comes directly from the 88RS channel strip and offers up to 50 dB of gain reduction, with continuously variable controls across the full pot range. You can run it anywhere from gentle optical-style compression to brick wall limiting.
A few features stand out in the walkthrough. The auto release mode lets you set a compression character quickly without sweating the release time, useful when you're moving fast during a session. The sidechain high-pass filter offers three settings (80 Hz, 125 Hz, and 300 Hz), which becomes particularly relevant when running full mixes through the unit since it lets you focus compression above the low end rather than letting kick and bass drive the gain reduction. The stereo link function follows the console topology, linking the two sidechain channels dynamically while keeping the makeup gain controls independent for fine balance adjustments.
How the Two Units Work Together
The 88M and 88C connect via short TRS cables on the insert send and return loop, and the video walks through three practical setups: tracking a mono microphone signal, reamping and reprinting individual DAW tracks, and processing full stereo stems or complete mixes. For each scenario, the presenter shows the DAW session setup in Logic, including how to mute the return track to avoid feedback loops, how to monitor through the hardware in real time, and how to arm and print the final result.
It's a thorough video that covers the operational side more carefully than most manufacturer walkthroughs. If you're considering adding the 88M or 88C to your setup, watching it before buying is a good use of your time.
You can find both units on our site. Reach out if you have questions about integrating them into your current setup
Watch the video here.