Rupert Neve Designs Portico 5043 Duo Compressor Limiter

Stereo bus compression or tracking — get that great Neve Sound with this powerful 2-channel compressor/limiter.




The Rupert Neve Designs 5043 Compressor/Limiter
Duo is a new and powerful approach to dynamic processing. This new
addition to the Neve Portico Series is designed with both tracking and
mixing applications in mind.

The Portico 5043 embodies 2
independent compressor-limiters (channels A and B) housed within a half
rack, 1U module. They can be used independently or connected in sequence
to provide 2 separate control slopes. When used independently, for
example, as a stereo pair, linking the DC control circuits via a front
panel push-button, enables the level of each unit, "A" and "B", to be
held in a constant relationship. Rear panel TRS connections are provided
to link multiple Portico 5043 compressor units. This linking may also
be extended to the former AMEK CIB and DMCL units. When used in
sequence, the Neve Portico 5043 can be configured easily to provide dual
slope compression and limiting.

Portico Series Awards:

Rupert
Neve Designs has been honored three TEC Awards since its inception in
2005. The Portico 5042 "True Tape" Emulator (#482649) won for
achievement in the category of Signal Processing Technology/Hardware.
The Portico 5015 Mic Pre/Compressor (#482645) won for achievement in the
category of Mic Preamplifier Technology. 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.


How it Works

In
order to control gain, a V.C.A. or Voltage Controlled Amplifier (or
Attenuator) is used. There are many types of V.C. 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
V.C.A. 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 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.

Buss or Line Input Selection

Any
number of Portico modules that are equipped with the "TO BUSS" button
may be sent to the BUSS input of the 5043 which makes it the ideal
choice to form the core of a simple and cost-effective Portico mixing
system. The Line input, when selected, provides a dedicated,
transformer-balanced 10K impedance bridging input so that the 5043 may
be inserted or included in any appropriate part of the signal chain at
Console line-up level.

Feed Forward or Feed Back?

The
Portico 5043 provides a choice of feed-forward or feed-back compression
modes. The FB Button allows the user to switch between the two modes.
If
the V.C.A. Control voltage is taken from the 5043 input, (i.e. before
the V.C.A.) the V.C.A. 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 V.C.A. Control voltage is taken
from the 5043 output, (i.e. after the V.C.A.) it cannot act immediately
on the V.C.A. because it has already been modified by settings of the
V.C.A. and circuits through which it has passed. This is known as a
"Feed-Back" 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 "Feed-Back". 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 inter-dependent. If a RATIO as high as 40:1
has been set, then if the THRESHOLD is set at 0 dBu, even when a massive
signal of +40 dBu (unlikely!) is presented to the input, the output
signal will only be +1 dBu. RATIOS as high as this would normally be set
somewhere above 0 dBu - say at +14 dBu, in order to prevent the output
signal level exceeding just over +14 dBu to protect, for example, a
digital recorder. Similarly, if a RATIO of 5:1 has been set, an input
signal which is 10dB above THRESHOLD will only rise by 2dB above that
THRESHOLD at the output.

Threshold control covers the Range from
below -30dB to +22dBu. When THRESHOLD 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 un-natural 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.

Release/Recovery

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 wave form 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.


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.

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.

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

2 independent Compressor-Limiters
TRS connections provided to link multiple 5043s
Analogue Operation
Intended For Recording, Mixing And Mastering Applications
Compact Half-Rack Design
Heavy Duty Construction




This compressor rocks! That's what we said when we heard it — if
you're looking for a smooth mix with upfront vocals, look no further.




Portico 5043 Duo Compressor Limiter Specifications:

Gain Range: Continuously variable from —6 dB to +20 dB.
Threshold Range: Continuously variable from —36 dB to +22 dB.
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 Seconds.
FF/FB: Feed-Forward or Feed-Back VCA control.
S/C
or LINK: Multiple 5043's may be daisy-chained via the rear panel jacks.
When an individual channel is engaged, it's 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 BUSS input select: Selects rear XLR input or " Buss Input jacks to accept Portico series buss outputs.
Maximum Output Level: Balanced and Floating Transformer Output
+25 dBu.
Total Harmonic Distortion and Noise: @ 1kHz, +20 dBu output level, no load.
Main Output, compressor bypassed - Better than 0.0006%.
Main Output, compressor engaged - Better than 0.02%
Noise: Measured at Main Output, un-weighted, 22Hz-22kHz, Terminated 40 Ohms.
With Gain at Unity, Compressor disengaged - Better than —103 dBu.
With Gain at Unity, Compressor engaged - Better than —92 dBu
Frequency Response: Main Output, Unity Gain
@ 18 Hz, —3 dB.
@ 150 kHz —3 dB.
Crosstalk: Measured Channel to Channel - Better than —80 dB @ 16kHz.
METERS A/B: Monitors INPUT LEVEL and GAIN REDUCTION of either Channel A or Channel B.
5043 Power:
Voltage Range: 9 to 18 Volts DC, 9Watts
Connector: 5.5mm X 2.5mm DC jack, Center Positive
Current consumption:
@ 9VDC = 1.0 A typical
@12VDC = 730 mA typical
@15VDC= 570 mA typical
@18VDC= 480 mA typicalinput impedance
output impedance








www.music-blvd.com


























Elysia Xpressor Discrete Class A Stereo Buss Compressor


0.0
(0 Reviews)

$1,499.00













Elysia Mpressor Discrete Class-A Stereo Compressor


0.0
(0 Reviews)

$4,699.00













Thermionic Culture Phoenix SB Side Chain Stereo Tube Compressor


0.0
(0 Reviews)

$4,595.00













Thermionic Culture Phoenix Mastering Plus Blackface Master Plus Stereo Tube Compressor


0.0
(0 Reviews)

$5,995.00













Gibson LPJ Electric Guitar


5.0
(11 Reviews)

$650.07 - $849.00























































































Fender Standard Stratocaster Electric Guitar with Rosewood Fretboard


5.0
(19 Reviews)

$399.99 - $499.99













Yamaha FG700S Folk Acoustic Guitar


5.0
(78 Reviews)

$84.00 - $199.99













MXL 990/991 Recording Microphone Package


4.5
(119 Reviews)

$69.95













Digital Reference DRV100 Dynamic Cardioid Handheld Mic


4.5
(2 Reviews)

$49.99













Fender Blacktop Jazzmaster HS Electric Guitar


4.5
(24 Reviews)

$399.99 - $499.99














































































Casio CDP-120 Digital Piano


4.5
(66 Reviews)

$175.00 - $349.99













Fender Hot Rod Series Blues Junior NOS 15W 1x12 Tube Guitar Combo Amp


4.5
(120 Reviews)

$599.99













Squier Bullet HS Telecaster Electric Guitar


5.0
(6 Reviews)

$119.99













Epiphone DR-100 Acoustic Guitar


4.5
(189 Reviews)

$99.00













Fender FSR Custom Telecaster HH Electric Guitar with DiMarzio Pickups


4.5
(9 Reviews)

$639.99 - $799.99




















































































Rupert Neve Designs Portico 5015 Mic Pre/Compressor Module


0.0
(0 Reviews)

$1,852.15 - $2,179.00













Rupert Neve Designs Horizontal Joining Kit


0.0
(0 Reviews)

$59.99













Rupert Neve Designs Portico 543: 500 Series Mono Compressor


0.0
(0 Reviews)

$905.45 - $995.00













Rupert Neve Designs Portico 5012 Duo Mic Preamp


0.0
(0 Reviews)

$1,733.15 - $2,039.00













Fender American Standard Stratocaster Electric Guitar with Maple Fingerboard


4.5
(33 Reviews)

$1,079.99 - $1,349.99


























































































Fender Modern Player Telecaster Plus Electric Guitar


4.5
(37 Reviews)

$319.99 - $399.99













Gibson Les Paul Studio Electric Guitar


4.5
(18 Reviews)

$959.99 - $1,399.00













Epiphone Les Paul Tribute Plus Electric Guitar


4.5
(36 Reviews)

$479.99 - $599.99













Simmons SD5X Electronic Drum Set


4.5
(8 Reviews)

$399.99













PRS SE Custom 24 Electric Guitar


5.0
(34 Reviews)

$519.20 - $679.00























































































Fender Standard Stratocaster Electric Guitar with Rosewood Fretboard


5.0
(19 Reviews)

$399.99 - $499.99













B.C. Rich Pro X Custom Mockingbird Electric Guitar


0.0
(0 Reviews)

$399.99













MXL 990 Condenser Microphone with Shockmount


4.5
(563 Reviews)

$59.99













Fender Standard Telecaster Electric Guitar


4.5
(27 Reviews)

$464.99 - $499.99













Epiphone Limited Edition Wildkat Royale Electric Guitar


4.5
(24 Reviews)

$399.00