This is an early Neve with a very unique character compared to the ubiquitous 1073.
N: Modeled after the Neve 1057 input channel. The sound is beefy in the lows, and smooth and silky in the highs. E: Modeled after the Chandler/ EMI TG Channel, based on classic EMI consoles. The character you get from this emulation is smooth. The 350 tape machine was a studio fixture throughout the ’50s, and eventually the preamps on these machines were pulled out, re-wired, and used as standalone mic pres. A: Modeled after the Ampex 350 tape drive preamp. And Decapitator does all of that with ease. These days, engineers use saturation in-the-box to add some of that grit back to pristine digital recordings, to increase perceived loudness, to add richness to a signal, or to totally destroy something with distortion. Tubes, transistors, and circuitry being pushed to the limit has been the key ingredient in great-sounding analogue recordings for decades. 
They know that it’s truly the heart of what makes analogue gear sound so good to people.
Part of what makes Soundtoys Decapitator so great is the fact that Soundtoys took the time to really understand saturation. Naturally, there’s a Punish button too, for when you need to take things way over the top… From there, you have a simple Gain control, Low- and High-Cut filters, a Tone knob from dark to bright, and a Mix blend for quick and easy parallel processing. Those are the ones that Soundtoys modeled for the A, E, N, T, and P styles in the plugin. Soundtoys then narrowed it down once again to their 5 favorite hardware units.
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