Rupert Neve Designs Portico 5015 Mic Pre/Compressor Module

Get that great Neve sound with this cost effective Preamp/Compressor.




The fully analog Rupert Neve Designs Portico 5015
Mic Pre/Compressor Module combines the outstanding sound quality
expected from a Rupert Neve design with the total flexibility required
by modern recording studios. The Portico 5015 features independent
transformer-coupled mic preamp and compressor-limiter sections identical
to those found in the Neve Designs 5012 and 5043 modules.

Available
in both vertical and horizontal configurations, when used with the 5033
five band EQ it is possible to create a Portico channel strip with
preamplification, dynamics processing and equalization. As an additional
routing option, the microphone preamp output may be routed directly to
the compressor section without patching by pressing the "To Compressor"
switch.

Portico Series Awards:

Rupert
Neve Designs has been honored with three TEC Awards since its inception
in 2005. The Portico 5015 Mic Pre/Compressor won for achievement in the
category of Mic Preamplifier Technology. The Portico 5042 "True Tape"
Emulator (#482649) won for achievement in the category of Signal
Processing Technology/Hardware. The 5088 Discrete Analogue Mixer won for
achievement in the category of Large Format Console Technology.

Rupert Neve Designs received the Mix Certified Hit Award in 2006 for the 5088 Console and the Portico Range.

Rupert Neve Designs received the Future Music Platinum Award for the Portico Range in 2007.

Microphone Preamplifier

The
microphone input is balanced but not floating, being a variant of an
instrumentation amplifer using a "Transformer-Like-Amplifier" (T.L.A.)
configuration with a toroidal Common Mode Rejection Low Pass Filter that
excludes frequencies above 150 kHz. The T.L.A. is followed by an actual
input transformer designed by Mr. Neve that permits a full +25 dBu
input signal to be handled at unity gain without an input pad over the
whole audio spectrum. This innovative solution combines the advantages
of both an "Electronically Balanced" and true transformer input.

In
addition to the 72 dB of gain, the Neve Portico 5015 mic preamp
includes individually selectable phase, mute, phantom power, a swept
high pass filter from 20-250 Hz, and the "Silk" circuit which yields the
rich warmth and presence of the renowned classic designs.

The Compressor Section

The
Portico 5015 microphone preamp's compressor has fully variable
threshold, ratio, attack, release and makeup gain with two selectable
VCA modes that provide for exceptional control of any source material.

How
it Works. In order to control gain, a VCA or voltage controlled
amplifier (or attenuator) is used. There are many types of voltage
control including the use of tubes, discrete and integrated solid state
circuits and naturally non-linear devices, each one having its
characteristic behavior that reflects sonically on the final
performance, and gives it a character or signature that can be musically
attractive or not.

The Portico 5043 makes use of a very accurate, low noise, low distortion V.C.A. having, essentially, no signature of its own.

A
part of the audio signal is rectified and smoothed to produce a
suitable control voltage for the VCA, which has to respond very quickly
and have low distortion. If the response is too fast, low frequency
signals will themselves be gain controlled. If the response is too slow,
the signal will overshoot and the first few cycles will not get
compressed. The speed and accuracy of the response, known as the attack,
and the time frame that gain remains under the initial control, known
as release or recovery, and plays a large part in the way a compressor
sounds.

All Rupert Neve Designs Portico modules use input and
output transformers and, almost entirely discrete component amplifiers.
In fact the line amplifiers on their own, inserted into the signal
chain, are capable of enhancing the sonic quality of many signal
sources, especially those of digital origin. These are some of the
factors that enable, the Portico 5043, to work so unobtrusively within
the context of a very high quality audio chain.

Feed-forward or Feedback?

The
Portico 5043 provides a choice of feed-forward or feedback compression
modes. The FB Button allows the user to switch between the two modes. If
the VCA Control voltage is taken from the 5043's input, (before the
VCA) the VCA knows right away that a gain change is required and there
is almost immediate response. This is known, logically, as a
feed-forward compressor.

If the VCA Control voltage is taken from
the 5043's output, (after the VCA) it cannot act immediately on the VCA
because it has already been modified by settings of the VCA and
circuits through which it has passed. This is known as a feedback
compressor. The two compression characteristics are quite different;
there is more overshoot, and both the attack and recovery ramps are
changed, providing the user with powerful choices. Almost all of Neve's
earlier designs were feedback . They were more musical and sweeter than
with feed-forward designs; however the feed-forward design provides
greater accuracy.

Ratio and Threshold

Above
a given threshold, signals are reduced by an adjustable amount ranging
from 1:1, (which is linear, or no reduction at all), to more than 40:1
which is a very high ratio, equivalent to that of a Limiter. Ratio is
sometimes referred to as slope because when depicted on a graph, the
slope of the graph representing output versus input is what changes.

Ratio
and threshold are closely interdependent. If a ratio as high as 40:1
has been set and the threshold is set at 0dBu, even when a massive
signal of +40dBu (unlikely) is presented to the input, the output signal
will only be +1dBu. Ratios as high as this would normally be set
somewhere above 0dBu - say at +14 dBu, in order to prevent the output
signal level exceeding just over +14dBu to protect, for example, a
digital recorder. Similarly, if a ratio of 5:1 has been set, an input
signal that is 10dB above threshold will only rise by 2dB above that
threshold at the output.

The 5043's threshold control covers the
range from below -30dB to +22dBu. When threshold is set at a low level
with a fairly high ratio, the amount of gain reduction will be
considerable and it may be necessary to use some gain after the
compressor to restore the apparent signal level.

Attack Time

The
attack time is the time taken for the compression circuits to start
compressing. A long attack time allows short duration peaks to escape
and go through uncompressed. This may cause overload on subsequent
digital circuits. A very short attack time sounds unnatural and robs the
signal of life by removing transients. Some transients are extremely
fast and have little effect on the sound quality. Setting a long attack
time often means that almost no gain reduction occurs because the
transient is history (!) before compression has had time to operate.
However, even the fastest circuits take time to operate, which means
that there is always some overshoot. Small amounts of overshoot are
musically desirable — there are exceptions, of course.

Setting
the right values of release and attack is what compression is all about.
Once the principles are understood a compressor/limiter such as the
5043 provides a powerful tool that actually appears to enhance the
dynamic range of a recording and so provide greater musical enjoyment

The
notes above explain how the 5043 handles signals of constant amplitude
such as pure tones. Real program signals, however, are continually
changing in level. The way in which a compressor deals with actual
program material depends upon the magnitude and duration of peaks in the
program level. If the release time is set to be very short, a short
duration signal will be compressed but the gain will return to normal
very quickly, giving a fluctuating and unnatural sound known as pumping
when the background or other signals are forced up and down. The gain
will also tend to follow the waveform of low frequency signals. Release
time should be set long enough for the gain to remain reasonably
constant between each bass note or between speech syllables.

Why Transformers?

The
fine subtleties of circuit design relating to sonic performance are
gradually becoming more clearly understood. For example, research has
shown conclusively that frequencies above 20kHz affect the way in which
humans perceive sound quality. But, long before scientific evidence
emerged a substantial body of musicians and engineers knew that
equipment with apparently the same technical measurements could sound
very different.

Incredibly small amounts of musically dissonant
odd harmonics have a disastrous effect on the sound quality. Extraneous
noise or interference that finds its way into a signal path seriously
impairs performance of the whole chain. Since many control rooms make
use of outboard gear that is not well protected from external signals.
Poor grounding of such equipment can be a serious problem.
Electronically balanced circuits much used in modern equipment, can give
very good measurements on the test bench but they do not provide
adequate rejection of the stray fields found in every working
environment.

To correct these issues, input and output circuits
must be freed from ground dependence so that only the wanted signal
enters and leaves the processing path. Transformers are the ideal
solution. The sweet and silky sound of Mr. Neve's classic designs were
achieved with big transistors and large, high-quality transformers.
Rupert Neve Designs Portico modules achieve similar quality today
without the bulk or the cost.

In order that modules can work
together as would be expected (i.e. in a proprietary console
configuration) without producing hum, RF interference or other
interactions, the connecting interfaces, grounding, levels, and
impedances, must receive careful attention. Each Portico module is a
complete integral signal processor that delivers its specified
performance independently. This is why we use transformers.

Low-noise, low-distortion operation

Much
care was given in designing the 5015 to produce as little noise and
non-harmonic distortion as possible. Carefully implemented signal paths
and Class A operation are a large part of the 5015's sweet, whisper
quiet performance. For more information, go to Mr. Rupert Neve's Design
Notes

Controls:

Silk:

Gives a subtle option to
enhance sound quality in the direction of vintage modules. The Silk
button reduces negative feedback and adjusts the frequency spectrum to
provide a very sweet and musical performance.

Level Meter:

-30 dBu to +22 dBu With reference to the output

Mute:

Mute cuts the output signal post meter and pre-buss output. Be sure to mute the outputs before engaging phantom power.

High-Pass Filter:

The
High pass filter is a valuable aid in any signal chain but particularly
so in a microphone preamplifier. Signals between 20 and 250Hz can be
attenuated, leaving the range above this unaffected. This gets rid of
building rumble, air handling motor hum etc.

Phantom Power:

Provides 48V phantom power to microphones

Buss Output:

The
To Buss output is unbalanced and has a high impedance output. It is
intended for use with the Portico Buss Amp/Monitoring modules. A TRS
patch cord is used to connect the 5012.

Phase Invert: Flips the phase of an incoming source 180 degrees

Compression:

For
signals below the threshold level that has been set, a compressor
provides a linear path allowing signals to be amplified without the gain
being adjusted in any way. When signals exceed the "threshold" level,
the gain is reduced in a controlled manner that depends on the ratio
that has been set.

Gain:

Gain range provided is from -6dB
to +20dB. As already noted, when compression has taken place, it may be
necessary to increase the overall gain to restore the apparent program
level

Ratio:

Range from 1:1 to Limit (40:1)

Threshold:

Range from -30dBu to +20dBU

Attack time:

Range from 20mS to 75mS.

Release/recovery time:

Range of Release time is 100ms to 2.5 seconds.

Stereo operation:

When
the Link button is engaged on two channels of Portico compressors
connected via the link inputs that are set to approximately the same
values, gain reduction on both channels will be the same to preserve
stereo balance and center imaging.

Ducking:

When the link
input is connected to another Portico series compressor with link
engaged, the signal passing through one the compressors may be used to
control the amplitude of the Portico compressor it's connected to.

Reduction meter:

An
LED meter is provided that show gain reduction in the compressor.
Reduction is calibrated in dB covering the range -1 to -22dBu, reading
from right to left.


Rackmounting Porticos:
If
you'd like to rackmount a single Portico, Neve offers the Half Rack
Joining Kit (see #482654). Or to rackmount two Portico units, Neve
offers its Horizontal Joining Kit (see #482653). Another option for
mounting single half rack units is the Raxxess Universal Rack Shelf (see
#421642).


Mr. Rupert Neve — the grandfather of pro audio

If
anyone could be considered for the title, "Grandfather of Pro Audio,"
the first name that would leap to mind would be Mr. Rupert Neve.
Recognized as the developer of the modern mixing console, Rupert's handiwork is found in thousands of studios around the world.

In
1997, Rupert became one of a very few personal recipients of a
Technical Grammy award. In awarding his Grammy, the Recording Academy
acknowledged Rupert's profound impact on the industry:

Mr. Rupert Neve Grammy Honors

"For setting the standard for quality sound reproduction through his
engineering and his innovative designs, which have made possible
unparalleled advances in the quality of recorded sound; in recognition
of his influence on a generation of audio designers; and for his
dedication to purity of audio reproduction."

The morning
following the amazing Grammy Awards ceremony in February 1997, Rupert
and Evelyn Neve hired a stretch limo to take them to the airport. After
all, for that day at least, Rupert was a star. Carrying the coveted
Grammy Trophy in its distinctive blue Tiffany bag, they headed for
security.

"What is this?" the security guard asked, puzzled by
the strange image on her screen. "It's our Grammy," Rupert replied. The
girl looked startled and in hushed tones said, "I'm so sorry sir. You'll
have to check this. We can't carry ashes in the cabin."

"No, no,
no," Rupert explained. "My Grammy - not Granny. Have a look if you
like." She opened it up and for a moment security at the airport came to
a standstill as girls screamed and all gazed in awe at the beautiful
replica gramophone. It was almost the best moment of the whole
proceeding.

Mix Magazine Hall of Fame

In
1989, Rupert was inducted into the Mix Magazine Tech Awards Hall of Fame
in recognition of his lifetime contribution to excellence in recording
and sound.

An Elite Fraternity

In 1999 he
was honored as "Man of the Century" by Studio Sound magazine. At the
turn of the century, Studio Sound conducted a survey inviting readers to
vote for the Top Ten personalities of the industry in various
disciplines. The first was Audio Personality.

It is Rupert's
prized honor to have been selected by his peers in the Pro Audio
business as number one Audio Personality of the 20th Century.

The Audio Century: Top Ten Audio Personalities of the 20th Century

1. Rupert Neve - champion of audio quality
2. Ray Dolby - household name
3. Sir George Martin - people's producer
4. Willi Studer - tape machine pioneer
5. Colin Saunders - founder of SSL
6. Alan Blumlein — inventor
7. Georg Neumann - microphone Designer
8. Michael Gerzon - mathematician
9. Valdemar Poulsen — inventor
10. Les Paul - guitars and multitracks





Features

Mic preamp/compressor module
Individually selectable phase, mute, phantom power and a fully sweepable high-pass filter
Ratio, threshold, attack, release, and gain compressor controls
"Silk" circuit adds rich warmth and presence
Provides 48V phantom power to microphones
Compact half-rack module
Heavy-duty construction
And of course, Neve's signature sound





Portico 5015 Mic Pre/Compressor Module Specifications:


Preamp:
Input:
Balanced, using TLA
(transformer-like-amplifier) with toroidal, common-mode-rejection,
low-pass filter that excludes frequencies above 150kHz.
The TLA
is followed by an actual input transformer permitting a full +26dBu
input signal to be handled at unity gain without an input pad over the
whole audio spectrum.
Combines the advantages of both an electronically balanced and true transformer input.
When the phantom power is disabled, this input serves as a very high-quality line input.

Input Impedance: 10k ohm ± 20%

Noise
(measured at main output): Input terminated with 150 ohms, measured
over band-limited 22Hz - 22kHz, unweighted with gain at unity: Better
than100dBu; with gain at 66dB: better than —62dBu

Equivalent Input Noise (EIN): Better than —128dBu

Frequency Response (main output, no load):
@ 10Hz, —0.2dB
@ 160kHz —3dB

Buss Output @ 10 Hz: —0.2 dB @ 160 kHz: —3 dB
High-Pass Filter: Swept frequency continuously variable from 20Hz to 250Hz.
Slope: 12dB/octave.

Gain: Switched from unity to +66dB in 6dB steps.
Trim: Continuously adjustable potentiometer from —6dB to +6dB with reference to setting on the gain switch.
Maximum Output Level: Balanced and floating transformer output from 20Hz to 40kHz: +25dBu (clips at just over +26dBu)
Mute: Mutes main output only. (Monitor remains live)

Total Harmonic Distortion and Noise:
Main output @ 1kHz, +20dBu output level, and no load: Better than 0.001%
(no high order harmonics)
SILK Engaged: Approximately 0.2% second harmonic
Main Output @ 20Hz, +20dBu output level, and no load: Better than 0.01%
Bus Output @ 1kHz, +20 dBu output level, and no load, measured at the output: Better than 0.002%.

SILK:
The 5012 uses mainly single-sided amplifier circuitry that excludes any
possibility of crossover distortion. The "SILK" button reduces negative
feedback and adjusts the frequency spectrum to provide a very sweet and
musical performance.

Bus Output: The bus output is designed to feed other Portico Series modules with bus inputs.

Crosstalk (measured channel to channel): Better than —90dB @ 15kHz

Phantom Power: +48VDC ± 1%

Main Power Required: (From External Power Unit) Voltage Range, 9 to 18 Volts DC.

Current consumption:
@ 9VDC = 1.3 A typical
@12VDC = 1A typical
@15VDC= 800 mA typical
@18VDC= 650 mA typical

Compressor:
Gain Range: Continuously variable from —6dB to +20dB
Threshold Range: Continuously variable from —36dB to +22dB
Ratio Range: Continuously variable from 1.1:1 to limit (40:1)
Attack Range: Continuously variable from 20ms to 75ms
Release Range: Continuously variable from 100ms to 2.5 sec
FF/FB: Feed-forward or feedback VCA control

S/C
or Link: Multiple 5043s may be daisy chained via the rear-panel jacks.
When an individual channel is engaged, its control voltage appears at
the rear panel link jack. When both channels are engaged they are linked
together internally and their control voltage also appears at the rear
panel link jack.

Line or Bus input select: Selects rear XLR input or 1/4" bus input jacks to accept Portico series bus outputs.

Maximum Output Level: Balanced and floating transformer output
+25dBu.

Total Harmonic Distortion and Noise: @ 1kHz, +20 dBu output level, and no load
Main output, compressor bypassed: Better than 0.0006%.
Main output, compressor engaged: Better than 0.02%
Noise (measured at main output, unweighted, 22Hz-22kHz, terminated 40 ohms:
With gain at unity, compressor disengaged: Better than —103dBu.
With gain at unity, compressor engaged: Better than —92dBu

Frequency Response (main output, unity gain):
@ 18Hz, —3dB.
@ 150kHz —3dB.

Crosstalk (measured channel to channel): Better than —80dB @ 16kHz.
Meters: A/B monitors input level and gain reduction of either channel A or channel B

Power:
Voltage Range: 9 to 18VDC, 9W
Connector: 5.5mm X 2.5mm DC jack, center positive

Current consumption (typical input impedance output impedance):
@ 9VDC = 1.0A typical
@12VDC = 730mA typical
@15VDC= 570mA typical
@18VDC= 480mA typical





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