Der Newton Channel ist ein leistungsstarker, moderner Kanalzug, der aus einer legendären Klanglinie hervorgegangen ist. Sein intuitives Design bietet klassischen Sound auf Abruf, mit all dem sofort erkennbaren Charakter, den musikalischen Eigenschaften und Klangformungsfähigkeiten sowie bewährter Zuverlässigkeit, die ein Produkt von Rupert Neve Designs auszeichnen. Der Newton ist gleichermaßen für ein Projektstudio, eine große Produktionsumgebung oder ein Live-Sound-Rig gut geeignet - und gibt damit mehr Toningenieuren, Produzenten und Künstlern die Möglichkeit, sich der RND-Familie anzuschließen. Der Name geht auf Ruperts Geburtsort - Newton Abbot, England - zurück und spiegelt die klanglichen Reisen seines Lebens wider: von Newton Abbot bis Wimberley, von Vintage bis Modern und alles dazwischen. Dies ist ein wirklich vielseitiger Kanalzug der Spitzenklasse, der jede Quelle mit dem klassischen Sound von Rupert Neve Designs zum Leben erwecken kann. ÜbersichtDer Newton-Kanalzug enthält einen vollwertigen Class-A-Mikrofonvorverstärker, eine musikalische, diskrete 3-Band-EQ-Sektion, einen schnellen und flexiblen VCA-Kompressor und speziell von Rupert Neve Designs entwickelte, transformatorgekoppelte Ausgänge mit der revolutionären harmonischen Sättigungsfunktion: variable Silk Red & Blue. Die Eingangsstufe und der MikrofonvorverstärkerDer Mikrofonvorverstärker des Newton bietet all den Klang und die Musikalität, die man von einem Gerät von Rupert Neve Designs erwartet. Dieser Vorverstärker macht es unglaublich einfach, schnell einen straffen, sauberen und detaillierten Sound einzustellen; und mit einer robusten Verstärkung von 72 dB, einschließlich 6 dB Feinabstimmung, ist der Newton ideal für eine Vielzahl von Quellen geeignet.Die Eingangsstufe ist auf die Impedanz von Standard-Mikrofonen zugeschnitten, kann aber auch mit Line-Pegeln betrieben werden - ein Paar Newtons kann also auch als High-End-Mixing-Tool in jedem Studio eingesetzt werden. Der Newton verfügt außerdem über das charakteristische variable Hochpassfilter mit umfassender Frequenzbereichsanpassung und unabhängigem Bypass-Schalter, mit dem der Tontechniker unerwünschtes Rauschen, Rumpeln oder andere tieffrequente Anreicherungen im Quellensignal schnell beseitigen kann. Der EqualizerDie EQ-Sektion des Newton ist auf Schnelligkeit und Flexibilität optimiert und verfügt über einen übersichtlichen Satz von Bedienelementen. Die Bänder für tiefe und hohe Frequenzen sind mit präzisen 31-stufigen Potentiometern steuerbar, die bis zu 12 dB Gain-Boost/Cut bereitstellen und damit die Möglichkeit bieten, je nach Wunsch subtile oder extreme Einstellungen vorzunehmen.Das parametrische Mittenband der Newton-EQ-Sektion verfügt über ein weiteres 31-stufiges Potentiometer und eine breite Spanne von Mittenfrequenzen zum Anheben oder Absenken, umschaltbar von 220 Hz bis 7 kHz. Dies macht das MF-Band besonders flexibel und ermöglicht es, die Unruhe in den unteren Mitten zu bändigen, die Präsenz der mittleren Frequenzen zu verstärken oder jegliche Härte im oberen Mitteltonbereich zu entfernen. Die sorgfältig gewählte feste Q-Einstellung hält ein gesundes Gleichgewicht zwischen Musikalität und Präzision aufrecht - gerade breit genug für eine weitreichende Entzerrung, ohne die benachbarten Frequenzen zu beeinträchtigen.Wie jede Sektion des Newton-Kanals verfügt auch der EQ über eine unabhängige Bypass-Taste, mit der sich die Einstellungen bei jedem Schritt überprüfen lassen. Der KompressorDer Newton-Kanalzug enthält auch die neueste Version des extrem geschmeidigen VCA-Kompressors von Rupert Neve Designs mit +20 dB Make-up-Gain und reichlich Regelmöglichkeiten für jede benötigte Kompressionsstufe, ohne dass der Sound darunter leidet. Außerdem gibt es eine hilfreiche Pre-EQ/Post-EQ-Taste, um den Kompressor entweder vor oder nach der EQ-Sektion zu platzieren, sowie eine unabhängige Bypass-Taste. Variable SilkAm Ende des Newton-Signalweges befindet sich der einzigartige und begehrte variable Silk-Schaltkreis, der die Möglichkeit bietet, Obertöne 2. und 3. Ordnung zu verstärken, indem er unsere kundenspezifischen Rupert Neve Designs-Ausgangstransformatoren für einen Vintage-Ton sättigt.Mit dem variablen Texture-Regler kann der Tontechniker die gewünschte Obertondichte präzise einstellen - im Silk-Red-Modus werden die Obertöne in den Höhen und oberen Mitten hervorgehoben, während im Blue-Modus die Obertöne in den Tiefen und unteren Mitten betont werden. Von einer subtilen Transformator-Tonalität ohne Silk bis hin zu deutlich mehr Farbe als bei Vintage-Modulen mit voll aufgedrehtem Silk/Texture-Schaltkreis - die Ausgangsstufe des Newton kann Spuren mehr Durchsetzungsfähigkeit und Brillanz verleihen. Custom Transformer AusgängeDer Newton Channel verfügt über eine eigens entwickelte Transformator-Ausgangsstufe mit einem symmetrischen MAIN-Standard-Line-Level-Ausgang. Zusätzlich kann ein separater -6dBu XLR-Ausgang hohe Eingangspegel und die harmonische Sättigung von Silk kompensieren, so dass der Newton vollständig ausgesteuert werden kann, um mehr Obertöne zu erzielen, ohne das nächste Gerät in der Kette zu übersteuern. Beide Ausgänge sind aktiv und können gleichzeitig verwendet werden.

From the father of the recording console comes the 5060 Centerpiece: the Class-A analog heart of your 21st-century studio. Sized for your desktop, the 5060 delivers the tonality and center section features of Rupert’s flagship 5088 console at your fingertips, cementing outboard together with serious custom transformers, flexible monitoring, DAW transport controls, and the raw power of a Rupert Neve-designed 24×2 mix-buss. Define Your Workflow With a modular, hybrid analogue/digital mix system built around the 5060, you can outfit your studio with exactly what you need – and nothing that you don’t. Utilizing modern DAW control technologies, the 5060 seamlessly integrates stem outputs from the DAW with the rest of your control room, sums the final mix, and provides 2-track outputs, source selection, and speaker feed outputs from the monitor section. Used in conjunction with 5059 mixers and Portico modules, the 5060 forms the core of a scalable analogue system. In this arrangement, the 5059s provide individual channel control, aux routing, and expandable channel counts, the Portico modules provide preamplification, EQ and dynamics, and the 5060 unites it all. The 5060 brings your dreams of a seamless hybrid workflow to reality. Define Your Tone With custom transformers, a class-A mix buss and variable Silk, the 5060 can provide a wide range of tonal flavors. Drive the mix buss hard and crank the Texture knob for a rich, saturated, vintage vibe – or disengage Silk entirely for clear, wide-open sonic beauty. Silk reduces the negative feedback on the output transformer, adding harmonic content as the texture is increased. Silk red mode accentuates the saturation in the high-mids and highs, while silk blue mode features more saturation in the lows and low mids. With Silk engaged, the distortion characteristic and harmonic content of the unit are very reminiscent of many of Rupert’s class-A vintage designs. These controls add an unparalleled range of tonal options to the 5060 and should be explored creatively with a variety of different sources for best effect. Additionally, by using 5059 Satellite Mixers to feed the 5060, you can further control the tone by using different Silk & Texture settings on the dual stereo outputs,and by creating parallel processing on the stems using the insert sends into processors, and then into stereo inputs 9-24. The New Analogue Standard While digital technologies come and go, the modular, class-A analog designs Rupert created decades ago have been proven to stand the test of time. Instead of merely cloning these “classics”, Rupert has spent recent years leading a team of engineers in crafting new designs, built on the same key principals, that take sonic performance, flexibility and ergonomics to new heights.   These designs embody the high voltage, class-A, discrete and transformer coupled architectures found in the 5088 console, which represent a culmination of Rupert’s vast analogue circuitry knowledge. With the 5060 Centerpiece, the primary aim is to deliver the extraordinary quality of the 5088 in a compact, modular framework. With an abundance of interconnectivity, exceptional fidelity, and the tonal versatility of Silk, the 5060 is the ideal core of the sound-conscious modern studio.

Seit mehr als sechs Jahrzehnten sind Audioübertrager das Fundament von Rupert Neves Designphilosophie für Audioschaltungen. Rupert Neve Designs - und die maßgeschneiderten Transformatoren von Rupert Neve Designs sind ein integraler Bestandteil eines jeden RND-Produkts. Ausgestattet mit diesen Übertragern bietet der MBT eine unglaubliche Vielfalt an Möglichkeiten, Quellmaterial zu verfeinern, zu veredeln, zu verstärken, anzureichern, zu verdichten und völlig umzuwandeln, was ihn zum ultimativen Werkzeug für musikalische Färbung macht. Der MBT eignet sich gleichermaßen für einen kompletten Mix, Gruppen, Stems oder einzelne Quellen und verbindet seine unbestreitbar legendäre Klangqualität mit einer Vielzahl flexibler Steuerelemente zur Gestaltung Ihres Sounds. Klangzauber mit dem HPF & Shelf EQ An erster Stelle steht ein sanftes Hochpassfilter mit einem voll variablen Frequenzwahlregler. Der HPF reicht von 100 Hz bis hinunter zu 15 Hz, ein besonders hilfreicher Bereich für einen vollen Mix, der so laut wie möglich sein soll.Als Nächstes kommt die völlig neue 2-Band-Shelf-EQ-Sektion - mit 3 Oktavbereichen, sanften Flanken und minimalen Phasenverschiebungen wurde dieser EQ mit dem Schwerpunkt auf Einfachheit und Eleganz entwickelt. Dieser sanfte und musikalische EQ bietet genau das richtige Maß an Klangverbesserung - besonders im Zusammenspiel mit den anderen Sektionen des MBT.Jedes Band verfügt über eine Verstärkungsregelung von +/- 9 dB, wobei die Eckfrequenz des NF-EQ von 30 Hz bis 240 Hz und die Eckfrequenz des HF-EQ von 3 kHz bis 24 kHz variiert werden kann. Das LF-Band eignet sich hervorragend, um die tiefen Frequenzen zu zähmen oder zu akzentuieren, um dem Quellmaterial ein bestimmtes Maß an Gewicht und Kraft zu verleihen. Das HF-Band bietet eine breite Palette von Eckfrequenzen zur Auswahl, die Anpassungen vom oberen Mitteltonbereich bis hin zu den Hochtonbereichen ermöglichen und Tracks zusätzlichen Glanz und Klarheit verleihen.Ein spannender Aspekt bei der Verwendung des MBT ist die Interaktion der verschiedenen Sektionen. Manchmal kann der EQ zuerst eingestellt werden, manchmal kann er in Ruhe gelassen werden, bis die anderen Sektionen abgestimmt sind. Eines ist sicher: Der MBT ermutigt zu jeder Zeit zum Experimentieren.   Mit dem Color Comp neues Leben einhauchenMit einem völlig neuen optischen Kompressordesign hebt der Color Comp die nichtlineare Verzerrung und die "farbigen" Eigenschaften der Opto-Zelle hervor und verleiht dem Quellmaterial ein neues Gefühl von Leben und Tiefe.Das Kompressorverhältnis kann auf ein niedriges (2:1) Verhältnis für eine subtile und sanfte Kompression oder auf ein hohes (5:1) Verhältnis für ein viel dramatischeres Verhalten eingestellt werden.Der variable Hochpass-Side-Chain-Filter entfernt die tiefen Frequenzen aus dem Side-Chain-Schaltkreis des Kompressors, so dass die tiefen Frequenzen den Kompressor unangetastet passieren können, während sich der Kompressor auf den Rest des Signals konzentriert. Mit einem durchstimmbaren Bereich von 20 Hz bis 350 Hz ist dies ein äußerst flexibler Regler für die Klangformung, der die Möglichkeit bietet, das tiefe Ende intakt zu lassen und den Rest des Quellmaterials je nach Bedarf zu zähmen oder zu unterdrücken.Der Color Comp verfügt außerdem über einen Blend-Regler, mit dem sich die Kompressionsschaltung parallel zum unkomprimierten Quellmaterial verwenden lässt. Dies kann besonders nützlich sein, wenn Sie den Obertongehalt, die Verringerung des Dynamikbereichs und die Unterdrückung von Einschwingvorgängen aus extremeren Kompressoreinstellungen herausnehmen möchten.Der Schwellenwert ist variabel von 0 dBu bis +24 dBu, wobei eine LED zur Verstärkungsreduzierung aufleuchtet, wenn das Signal den Schwellenwert überschreitet. Der Color Comp erzeugt jedoch auch hörbare nichtlineare Obertöne, selbst wenn die Verstärkungsreduzierung nur geringfügig ist. Wir empfehlen daher, sich den Color Comp auch dann anzuhören, wenn keine Verstärkungsreduzierung sichtbar ist, um den Grad der Tonalität zu erkennen, den er erzeugt. Die angenehme Natur dieses harmonischen Inhalts wird noch deutlicher, wenn die Kompressoreinstellungen extremer werden.Die Release-Zeit ist variabel von 100mS bis 1,5S. Durch die Wahl höherer Ratios und schnellerer Release-Zeiten ist es möglich, den Farbkompressor dazu zu bringen, bei den Attacks aktiv zu "pumpen", während er bei langsameren Release-Zeiten viel sanfter arbeitet.Schließlich verfügt der Color Comp über 20 dB Class-A-Verstärkung. Dies ist nicht nur für die Pegelanpassung der Signale vor und nach der Kompression nützlich, sondern auch für die Ansteuerung der Zwischentransformatoren in der Super Silk-Sektion, um die Obertöne noch stärker anzureichern. Neue Dimensionen mit WidthDie Width-Sektion wurde entwickelt, um die wahrgenommene Stereobreite zu erhöhen, ohne den Fokus auf die tiefen Frequenzen zu verlieren.Die Width-Sektion des MBT ist von den WIDTH-Reglern des Stereo Field Editor (SFE) unseres preisgekrönten Master Buss Processors inspiriert, weist aber zwei wesentliche Unterschiede auf: Erstens ist der Breitenregler des MBT nur additiv, mit einem größeren Bereich für extremeren Betrieb.Zweitens gibt es einen variablen HPF von 50 Hz bis 800 Hz, um den Breitenanteil so einzustellen, dass tiefe Frequenzen in der Mischung zentrierter bleiben, während die Mitten und Höhen gespreizt werden, um mehr Raum zu schaffen. Darüber hinaus gibt es eine subtile Verjüngung des Breiteninhalts für hohe Frequenzen, um eine Überbetonung schärferer HF-Töne zu vermeiden. Obertöne kontrollieren wie nie zuvor mit Super SilkDer vor fast zwanzig Jahren eingeführte Silk-Schaltkreis ist seit langem ein Liebling der Anwender von Rupert Neve Designs. Zunächst als einfacher Ein/Aus-Schalter, dann mit wählbaren Rot- und Blau-Modi und dem variablen Texture-Regler, dient Silk zur Verbesserung und Kontrolle von geraden und ungeraden Obertönen in jedem Quellmaterial.Super Silk ist die jüngste Weiterentwicklung dieser beliebten Technologie: Mit den unabhängigen Reglern für Rot, Blau, Obertonintensität und Zener Drive erreicht die Obertonmanipulation mit dem MBT eine ganz neue Ebene.In der Vergangenheit wurde Silk immer auf die Ausgangsübertrager eines Geräts angewendet. Bei der Entwicklung des MBT wurde jedoch der Wunsch geäußert, noch mehr Kontrolle und Flexibilität zu bieten - daher enthält Super Silk auch einen zusätzlichen Satz Transformatoren, um die Möglichkeiten dieser beliebten Schaltung weiter zu erweitern. Dieses Design bietet die Möglichkeit, Super Silk für eine dynamischere Sättigung und transientes Clipping anzusteuern und gleichzeitig das Signal nach dem Super Silk mit dem Output Trim abzuschwächen, um eine optimale Verstärkung zu erreichen.Silk Red akzentuiert die Obertöne in den oberen Mitten und Höhen und verleiht dem Signal Glanz und Schimmer. Silk Blue akzentuiert die Obertöne in den tiefen und mittleren Frequenzen und verleiht ihnen mehr Tiefe und Gewicht. Der Harmonics-Regler erhöht den gesamten musikalischen Obertongehalt, indem er die individuellen Interstage-Transformatoren des MBT in die Sättigung treibt; diese Einstellung interagiert mit den Einstellungen für Silk Blue und Silk Red, so dass Sie experimentieren sollten, um neue Mischungen und Abstimmungen zu finden.Der schaltbare Zener Drive schließlich ist eine asymmetrische Soft-Clip-Schaltung auf Diodenbasis, die vor allem Obertöne ungerader Ordnung einbringt, wenn sich das Signal dem Headroom des MBT nähert, um eine aggressivere Tonalität zu erzielen. Ansteuerung und Pegelkontrolle mit E/A-VerstärkernUm ein optimales Gain Staging durch den MBT aufrechtzuerhalten, die Interstage-Transformatoren voll anzusteuern und die Pre/Post-Signale genau abzustimmen, verfügt der MBT über Eingangs- und Ausgangsverstärker der Klasse A, die alle Pegel verarbeiten.Die Ausgangsverstärker speisen die individuellen Ausgangstransformatoren von Rupert Neve Designs für den Pegelausgleich und die Entkopplung.

The ultimate tool for creating digital signals with the tone, transparency, and power expected from Rupert Neve Designs. Whether you’re tracking, printing mixes or mastering, the Master Buss Converter is a revelation in quality and functionality of A-D conversion technology. The analog drive circuitry allows the MBC’s converter to be fed by either a class-A transformerless path for maximum transparency, or by custom interstage audio transformers with variable Silk for a wide variety of tonal enhancements. Coupled with an astonishingly musical limiter, the MBC is always the best choice to capture your analog signals with breathtakingly three-dimensional accuracy. Features: Selectable Analog Drive Paths: The very best of class-A transformerless and custom transformer-coupled designs at the touch of a button.  Transformer Path with Silk / Texture: Add weight and punch with a dedicated custom inter-stage transformer before the converter. Silk / Texture allows you to dial in the harmonic content and drive saturation of this signal path.  Class-A Transformerless Path: Maximizes clarity and transparency of the input signal.  Active Compound Release Analog Limiting: Push your levels further with fewer artifacts than plug-ins, and introduce clip safety for tracking or broadcast.  Side Chain HPF: Tighten the response of your limiting with a 12dB / Octave SC HPF sweepable from 20Hz to 250Hz 24-bit/192kHz Reference Conversion: Unparalleled analog capture with precision clocking using top-of-the-line chips.  Multi-Standard Connectivity: Connect to any of your digital devices with AES, S/PDIF and TOSLINK all simultaneously available.  Precision Clocking: Maximum accuracy with minimal jitter and phase noise, able to operate as a master clock or sync from another master.

Comprised of a rugged, portable chassis with world class Portico pre-amp, compressor and DI circuits as well as two channel operation, variphase, silk and DI/mic blending capabilities, the Portico 5017 is an innovative and powerful tool for recording or live performance. In replacing the Portico 5016 Mic Pre / Variphase DI, the 5017 Mobile DPC adds single knob compression, DI / Mic Pre blending, and a go anywhere design to a well established classic.With Portico Series custom transformers and silk mode, the Mobile DPC’s sonic signature is nothing short of legendary. It’s the 5017′s revolutionary feature set however that make it an indispensable tool for studio recording, live recording and stage performances.Dual Channel UseUsed as a two channel device, a lead singer and guitar player, can take the classic studio quality of the 5017 wherever they go; using the DPC for a Vocal mic pre and compressor, as well as a separate DI preamplifier. To achieve this, the blend control should be selected as fully DI (blend off), and an internal jumper can be selected to apply the compressor to the mic pre signal. When engaged, Silk mode would effect both vocal and guitar tracks, and the HPF control would effect only the mic path.Blended UseUsed as a single channel device for instruments, the 5017 can be used to phase align, combine and compress direct and amplified signals. To achieve this, use the DI for the instrument’s direct signal and the mic preamp for the speaker cabinet signal. The blend control is used for mixing direct and amplified signals to achieve the desired tonal blend between the two sources, and the variphase is used to minimize or extenuate phase cancellations between the two signals. To compress the blended signal, the internal compressor jumper must be set to the blend path (this is the default setting). This technique could also be used to create a single, mixed output of a guitar and vocals.The CompressorBased around a new LDR (light dependent resister) design, the 5017′s opto-coupler compressor has been simplified to a single threshold control with auto make up gain. By default, the compressor is set to a fixed 2:1 ratio with an internal jumper to change between standard and fast time constants. To set the compressor, simply dial the threshold control down until the desired amount of compression is achieved. An LED light indicates when the compressor is active.Vari-PhaseIn addition to the standard polarity reverse, the 5017 also incorporates a vari-phase control to adjust the phase incrementally. This control is useful any time two signals derived from the same source are combined.For instance, even with careful placement, the combination of close miced drums and overheads, can often yield hollow sounding results. By using the variable phase adjust, the direct signal can be phase rotated until the signals are naturally aligned.This technique is also extremely useful when combined with the internal blend control on instruments. A bassist, using both direct and miced signals can blend the two into a single output, using the vari-phase to reach an optimal alignment. By adjusting the phase in the 5017, the musician or engineer can find the absolute best mic position without regard to the phase relation to the direct signal.With the 5017, the Portico sound is always within reach.Specifications:Dimensions7.5″ (deep) x 6.5″ (wide) x 2″ (high)Frequency Response:Main Output, no load, –0.2 dB @ 10 Hz –3 dB @ 160 kHzNoise:Measured at Main Output, unweighted, 22Hz-22kHz, Terminated 150 Ohms. With gain at unity better than –100 dBu With gain at 66 dB better than –62 dBu Equivalent Input Noise better than –128 dBu Noise Factor 1.5dBMaximum Output Level:Maximum output from 20 Hz to 40 kHz is +23 dBu.Total Harmonic Distortion and Noise:@ 1kHz, +20 dBu output: Main Output: Better than 0.001% @ 20Hz, +20 dBu output: Main Output: Better than 0.002% Silk Engaged: Better than 0.2% Second harmonicCrosstalk:Measured channel to channel: Better than –90 dB @ 15kHz.Phantom Power:+48 Volts DC +/- 1%

Incorporating four channels of renowned preamplification, independent silk controls, two channels of DI inputs, and an M-S Decoder into a 1U enclosure, the 5024 is workhorse equipped to enhance the front end performance of any digital or analogue recording system. Each channel of the Portico 5024 is based around the custom transformers and class-A circuitry found in the 5012.In addition to 72 dB of gain, the 5024’s mic pres include individually selectable phase, mute, phantom power, a selectable frequency high pass filter, and the Silk circuit which yields the rich warmth and presence of the renowned classic designs. Channels 1 & 2 of the 5024 feature a high-Z input designed for instrument level sources. Channels 3 & 4 feature an M-S switch, which enables Mid-Side decoding without the use of multiple console channels.Microphone InputThe 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 permitting a full +25 dBu input signal to be handled at unity gain without an input pad over the whole audio spectrum. This combines the advantages of both an “Electronically Balanced” and true transformer input. When the Phantom voltage is switched off, this input serves as a very high quality line input with an impedance of 10,000 ohms.Low Noise, Low Distortion OperationMuch care was given in designing the 5012 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 5012′s sweet, whisper quiet performance. For more information, go to Mr. Rupert Neve’s Design NotesWhy Transformers?A complete discussion on transformers is out of place at this point but a technical discussion will be posted at a later date. Here it is helpful to review some of the essentials where it will be seen that a design needs to be viewed as a whole, not simply from the point of view of a single component.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 20 kHz 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.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.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 my classic old favorite consoles was 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, R.F. 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 one of the reasons we use transformers.Specifications:Frequency Response:Main Output, no load, –3 dB @ 2 Hz –3 dB @ 160 kHzNoise:Measured at Main Output, unweighted, 22Hz-22kHz, Terminated 150 Ohms. With gain at unity better than –92 dBu With gain at 66 dB better than –56 dBu Equivalent Input Noise better than –123 dBuGain:Unity to +66dB in 6 dB steps, Trim continuously adjustable from –6dB to +6dB Line Input: Trim continuously adjustable from –6dB to +6dBMaximum Output Level: Maximum output from 20 Hz to 40 kHz is +25 dBu.Phantom Power:48 Volts DC +/- 1%Total Harmonic Distortion and Noise:@ 1kHz, +20 dBu output: Better than 0.002% As above, Silk Engaged: Better than 0.2% Second Harmonic @ 20Hz, +20 dBu out Better than 0.004% @ 20Hz, +20 dBu out Better than 0.020% IM Distortion: Better than 0.002%

The 5045 Primary Source Enhancer is a two channel device that is exceptionally useful at reducing feedback, effectively increasing the level a microphone can be raised before feedback occurs in a live sound environment by up to 20dB, without negatively impacting the sonic integrity of the source signal. With controls that are very simply laid out and generally require minimal adjustment, the 5045 is an invaluable tool for churches, stadiums, performance halls, or any venue where feedback is problematic.The 5045 shares some traits with conventional “noise gates”, but operates with a different principle. One common aspect is that both reduce the gain during the absence of signal – or more specifically, both begin to attenuate when the level of a signal falls below a certain user-defined threshold. The 5045 senses when someone is speaking or singing into the mic and allows the signal to pass through, and senses when the person has stopped talking or singing and reduces the gain appropriately, which helps reduce the tendency of a system to feed back. Most importantly, the 5045 does not require filtering and digital processing to achieve significant benefits.Simple Setup InstructionsOperation of the 5045 is extremely simple. The 5045 accepts line level signals, such as the output of a microphone preamplifier or the “Insert” send of a console. The 5045 outputs are also line level, and typically feed a console line input or “Insert” return. Because the 5045 uses transformer-coupled inputs and outputs, it connects easily to virtually any combination of balanced or unbalanced inputs and outputs, provided you have commonly available appropriate adapters.Once the 5045 is connected and power has been turned on, the next steps are relatively simple. A good safe initial starting point is: “PROCESS ENGAGE” not pressed, “TIME CONSTANT” set to C or D, “RMS/PEAK” button not pressed (RMS mode), “THRESHOLD” fully counterclockwise (or -18), and the “DEPTH” also fully counterclockwise.Now, have someone speak or sing into the microphone and press the “PROCESS ENGAGE” button; if the 5045 is connected properly, there should be no change in level. As the person is talking or singing, adjust the “THRESHOLD” so that the green “PROCESS ACTIVE” LED glows solidly when they talk and dims when they stop speaking (between sentences, for example). Gently increase the “DEPTH” knob to about -10 dB as a starting point.If the sound system was previously on the edge of feeding back, the above procedure should have helped. If the system volume was set low to “play it safe” and well under the feedback zone, you can try increasing the volume of the channel slowly and adjusting the “DEPTH” to achieve more volume before feedback sets in. The 5045 will not completely eliminate the chance of feedback (given enough volume, it’s always possible), but it is generally effective at allowing both increased levels along with less chance of annoying feedback.Everything else being equal, typically louder voices (or hotter signal levels) will be associated with more clockwise “THRESHOLD” settings, and quieter voices may require more counterclockwise rotation. In either case, the key thing to watch is the “PROCESS ACTIVE” LED that should always be lit when the person is talking or singing: the LED should only dim after they stop vocalizing. Adjust the “THRESHOLD” accordingly.The Depth ControlThe “DEPTH” knob sets how much attenuation is applied after the signal falls below where the “THRESHOLD” is set. “0″ implies zero attenuation and the 5045 won’t be doing anything. “-10 dB is moderate attenuation and reasonably safe from accidentally chopping off a word or part of a word. -20 dB attenuates deeper but might be a bit choppy. Setting the “DEPTH” control so that it does not chop off bits of quietly spoken words while fighting a difficult feedback problem is the goal, especially with singers that sing quietly one moment and loudly the next while demanding loud monitors.The Time Constant ControlThe “TIME CONSTANT” control is designed to help prevent choppiness in some situations and stop feedback in other situations. It mostly sets how quickly the attenuation occurs in the quiet sections between words or sentences. “A” is the fastest and “F” is the slowest. “A” will quickly soften the level which can be advantageous when the singer is consistent and feedback howl is challenging. “F” is the safest in terms of slowly fading down, but might be a bit slow fading up again, and might be a bit slow for controlling some pesky feedback situations. “C” and “D” are moderate settings that should fit many situations and generally fade down slow enough so that the ends of words are not affected, yet fast enough to control feedback. Choose the most appropriate “TIME CONSTANT” that doesn’t soften the beginnings and endings of phrases, yet still diminishes the feedback and “boominess” of the signal.The RMS/PEAK SwitchSimilarly, the “RMS/PEAK” button allows some finessing of the timing of the 5045. With the “PEAK” button pushed in, the 5045 will return to normal level from attenuation very rapidly. This may help prevent the beginnings of some words from being cut off. (It also opens the door for some creative dynamics-shaping if one uses the 5045 on musical instruments.) With the button set to “RMS”, the 5045 will behave moderately slower, but with a greater deal of perceived “musicality”. In this mode, it is relying on the “average” signal level rather than merely the loudest and briefest peaks.Specifications:ThresholdContinuously variable from -20 to 10dBuDepthContinuously variable from 0 to 20dBuTime ConstantsPeak Mode:A: 50mS B: 100mS C: 200mS D: 750mS E: 1.5S F: 3S * RMS Mode Time Constant data collected using 10dB bursts.Attack: fixed 20mSRelease:A: 20mS B: 200mS C: 1S D: 2S E: 5S F: 30SMaximum Output Level:+25dBuTotal Harmonic Distortion and NoiseFeedback Suppressor Engaged: Main OutputBetter than 0.002% Better than 0.002%NoiseFeedback Suppressor Engaged: Measured @ Main Output, un-weighted, 22Hz-22kHz, 50 ohm terminated input Better than -100dBu Better than -95dBuFrequency ResponseMain Output @ 20Hz -3dB @150kHz -3dBCrosstalkMeasured Channel to Channel Better than -80dB @ 16kHz

With a truly legendary transformer-balanced preamp and the flexibility of variable Silk / Texture, the 511 was designed by Rupert Neve to provide classic sonic performance with 500-series value. Incorporating the pristine preamp circuitry from the 517, the universally useful sweepable high pass filter from the 5012, and the sweetness of the variable Silk circuit derived from our flagship Portico II Channel, the 511 is a workhorse for all your most important tracks. Designed for 500 Series by Mr. Rupert Neve Rupert Neve: “While creating functional 500 series modules is relatively simple, designing those modules to equal their non-500 series counterparts with the current, voltage and space restraints is quite challenging. In creating our Portico 500-Series Modules, we experimented with a number of different transformer and circuit designs to achieve the same presence and sweetness found in the Portico Series of modules. The result of these efforts is that outside of the slightly lowered headroom, our 500 series modules are nearly indistinguishable from standard Portico Series modules, and are perfectly suited for studios of the highest caliber.” Input Section Input signals may be derived from Mic or Line sources (make sure 48V is off for line sources!). The input has a 10K Ω non-reactive input resistance that handles a full 22dBu signal without the need for a pad. The pre-amp is a TLA non-reactive design that precludes the loading of microphones with limited driving capability. A primary gain control provides 66dB of gain in 6dB increments for easy recall, with a +/- 6dB trim for fine adjustment. For condenser microphones and powered DIs, there is +48V phantom power. A transient-optimized HPF continuously covering the range from 20-250Hz is included to tame rumble and proximity effect. Texture One of the key developments in the 511 is the Red Silk / Texture control from the Portico II Channel. Building on the “Silk” mode found in the Portico Series mic pre-amplifiers, Texture is designed to adjust the actual amount of harmonic music content from the source material, in effect, providing wide range of tonal options for the preamplifier. Like the original Portico Silk, the Silk Red / Texture works by reducing negative feedback on the output transformer and adjusting the frequency response to more closely resemble Mr. Rupert Neve’s vintage designs. With the 511, the Texture control allows these techniques to be pushed further than previous designs, adding about 10 times the desirable THD of the original silk control at the maximum setting. With that said, we have taken great care to ensure that the musical integrity of source material itself will not be compromised by these harmonic controls (these are not to be confused with controls from other manufactures that may “incinerate”, “demolish” or “destroy” source material), and we believe they can be confidently modified to fit the personality of any song, instrument or engineer. Low Noise, Low Distortion Operation Much care was given in designing the 511 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 511′s sweet, whisper quiet performance. Why Transformers? A complete discussion on transformers is out of place at this point, but it is helpful to review some of the essentials where it will be seen that a design needs to be viewed as a whole, not simply from the point of view of a single component. 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 20 kHz 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. 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. 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 my classic old favorite consoles was 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, R.F. 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 one of the reasons we use transformers.   MIC GAIN A 12-way precision rotary switch controls gain from 0 to 66 dB in 6 dB steps. TRIM Continuously variable +/-6 dB level control. +48V Engages phantom power on the microphone input, as supplied by the 500 series rack. POLARITY Push button inverts the polarity of the signal path, and illuminates when engaged. The symbol “Ø” is often used to denote opposite polarity. HIGH PASS FILTER The high pass filter is continuously variable from 20-250Hz and engaged by the HPF switch, which illuminates when engaged. It is a valuable aid in any signal chain, but particularly so in a microphone preamplifier. Signals below the selected frequency are attenuated at a rate of 12db / octave, getting rid of proximity effect, building rumble, air handling, motor hum, etc. SILK / TEXTURE Pushing the Silk button engages the red Silk circuit, which reduces the negative feedback on the output transformer, adding harmonic content as the texture is increased. Red Silk accentuates the saturation in the mid and high frequencies, similar to that of the red silk mode on the Portico II Channel. By manipulating the Texture control, the amount of Silk can be changed from essentially absent, to roughly 10 times the amount of coloration / distortion found in Silk from the original Portico Series. With Silk / Texture engaged, the distortion characteristic and harmonic content of the unit are very reminiscent of many of Rupert’s class-A vintage designs. LEVEL METER An Eight-segment LED bar-graph meter displays output level (pre-Silk). The color range proceeds from green for lower level signals, yellow for intermediate signals, and red for high levels. When the 511 is clipped, the highest red LED will hold longer depending on how far above the clip threshold the signal was.

Mic Pre and Instrument Amplifier The 517′s mic pre includes 66dB gain, and is based on the Portico 5017 design. The mic pre also incorporates a polarity reverse switch and phantom power. The separate instrument amplifier includes 30dB of gain, a ground lift, variable phase and an instrument Thru connection. Blended Use Used as a single channel device for instruments, the 517 can be used to phase align, combine and compress direct and amplified signals. To achieve this, use the DI for the instrument’s direct signal and the mic preamp for the speaker cabinet signal. The blend control is used for mixing direct and amplified signals to achieve the desired tonal blend between the two sources, and the variphase is used to minimize or extenuate phase cancellations between the two signals. To compress the blended signal, the internal compressor jumper must be set to the blend path (this is the default setting). This technique could also be used to create a single, mixed output of a guitar and vocals. The Compressor Based around a new LDR (light dependent resister) design, the 517′s opto-coupler compressor has been simplified to a single threshold control with auto make up gain. By default, the compressor is set to a fixed 2:1 ratio with fixed attack and release. To set the compressor, simply dial the threshold control down until the desired amount of compression is achieved. An LED light indicates when the compressor is active. Vari-Phase In addition to the standard polarity reverse, the 517′s vari-phase control may be used to adjust phase incrementally. This control is useful any time two signals derived from the same source are combined. For instance, even with careful placement, the combination of close miced drums and overheads, can often yield hollow sounding results. By using the variable phase adjust, the direct signal can be phase rotated until the signals are naturally aligned. This technique is also extremely useful when combined with the internal blend control on instruments. A bassist, using both direct and miced signals can blend the two into a single output, using the vari-phase to reach an optimal alignment. By adjusting the phase in the 517, the musician or engineer can find the absolute best mic position without regard to the phase relation to the direct signal.   500 Series DI/Pre/Comp with Variphase Specifications Frequency Response: Main Output, no load, –0.2 dB @ 10 Hz –3 dB @ 160 kHz Noise: Measured at Main Output, unweighted, 22Hz-22kHz, Terminated 150 Ohms. With gain at unity better than –100 dBu With gain at 66 dB better than –62 dBu Equivalent Input Noise better than –128 dBu Noise Factor 1.5dB Maximum Output Level: Maximum output from 20 Hz to 40 kHz is +23 dBu. Total Harmonic Distortion and Noise: @ 1kHz, +20 dBu output: Main Output: Better than 0.001% @ 20Hz, +20 dBu output: Main Output: Better than 0.002% Silk Engaged: Better than 0.2% Second harmonic Crosstalk: Measured channel to channel: Better than –90 dB @ 15kHz. Phantom Power: +48 Volts DC +/- 1%

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Punchy, thick and versatile, the 535 Diode Bridge Compressor captures the soul of Rupert Neve’s original 2254 compressor while providing modern updates including advanced timing control, significantly lower noise, fully stepped controls throughout, and internal parallel processing capabilities. Originally developed for the dynamics circuit of the acclaimed Shelford Channel, the 535 is outfitted with Rupert Neve Designs’ custom transformers and class-A output amplifiers, all tailor-made for the popular 500-series format. Almost 50 years after Mr. Rupert Neve created his first diode bridge compressor designs, the 535 reimagines the larger-than-life personality of these classic circuits with new levels of precision and adaptability, helping virtually any track shine through a mix. The Diode Bridge Where the VCA compressor found in the 543 and Master Buss Processor provides unmatched clarity, the weighty, harmonically rich tonality of diode bridge compression can be essential in pushing key sources like vocals, electric guitars, bass and drums to the forefront of a mix. Mr. Rupert Neve’s original diode bridge compressors like the 2254 served as an inspiration for the design of the 535. By understanding the limitations of the original 2254 topology, painstaking effort was taken to reproduce the unique tone of the 2254 while improving the noise floor, expanding inflexible time constants, adding full wave sidechain detection for improved dynamic response, widening the range of threshold and ratio controls, and raising the headroom of the diode bridge itself. Delivering the powerful sound of these classic designs with enhanced flexibility for the modern age, the 535 is a dynamic tool equipped to make a statement on virtually any track. Timing is Everything The unified TIMING control is comprised of six selectable settings, carefully chosen for different applications – a major departure from the fixed attack of the 2254. FAST and MF settings are designed to help clamp down on more transient signals like drums, plucked string instruments and fast vocals. MED and MS have slightly slower attacks and releases which can allow more transients through while having a slightly longer recovery. Lastly, SLOW and AUTO are both significantly slower, and are designed for smoother level control. FAST mode increases the speed of both attack and release for each setting, effectively doubling the number of time constants from 6 to 12. The FAST mode also allows for a dramatic increase in speed as compared to the 535’s renowned ancestors, providing significantly more tonal & operational versatility. Faster TIMING settings will generally lead to higher peak-to-peak control voltage ripple, and therefore induce more harmonic content, translating into more color in the main audio path. Slower TIMING settings will smooth the control voltage significantly, and thereby reduce the harmonic content added to the audio path, resulting in more transparent compression. It is also worth noting that due to the nature of this topology, these time constants adapt themselves slightly depending on several factors: compression ratio, threshold, and source material. This dynamically generated timing shift and harmonic content is what gives the Diode Bridge Compressor its unique personality. The Right Blend Given the naturally colored sonic signature of the 535’s diode bridge, this built-in parallel compression ability is especially useful. The BLEND control allows the user to inject smaller amounts of extreme compression into an otherwise unaffected signal, creating an enhanced yet natural sound that maintains dynamic range with blendable color and punch. Take Control In addition to the TIMING control, the diode bridge compressor can be further manipulated by the RATIO, THRESHOLD, GAIN, SC HPF and LINK controls. The RATIO control has six selectable positions on the rotary switch and allows the user to set the slope of the compressor curve, with pre-selected ratios of 1.5:1 through 8:1. The THRESHOLD control has 31 detents and allows the user to adjust the point at which compression begins, ranging from -25dBu to +20dBu. The GAIN control has 31 detents to add make-up gain ranging from -6dB to +20dB. The S/C HPF is 12dB/octave sidechain high-pass filter with a frequency set to 150Hz. This feature can be immensely useful for making the compressor respond less to the powerful – and often more sustaining – low frequencies in a mix or instrument, which may otherwise give the compressor a more “mushy” response. LINK is designed to utilize the 500-series link buss built into many 500 series racks like the R6 or R10 (check your rack’s manual for details). When both units have link engaged and connected, the control voltage is shared between them – so when one unit is triggered, it will trigger the other unit equally. This can often help maintain a solid center image in a stereo source. Note: for stereo sources, it is always worth auditioning the “unlinked” sound as well, as linking can sometimes clamp down on the effective stereo width when the compressors are triggered by one side.

The Portico 542’s “True Tape” emulation circuit provides the nostalgic rounding and compression usually only achieved by the use of tape, and can offset the harshness often found in digital recordings. Unlike digital emulations, the “True Tape” drive circuit works by feeding a tiny magnetic “record head”, whichin turn is coupled to a correctly equalized, replay amplifier. As the voltage rises on the “record head”, saturation increases, and a soft clip circuit engages at higher levels to round off peak transients. The sound of the tape circuit can be further modified with selectable 15 / 30 IPS modes and a pre/post-tape blend control. In addition to the tape circuit, the 542 also has the variable Silk & Texture circuitry found in the Portico II series of modules, which allows the engineer to fine-tune the harmonic ratio and tonality on the output transformer. Getting the Most Out of the 542 While in the olden days, tape’s non-linearity was generally looked upon as more of a curse than a “feature”, the advent of digital systems that operate in a completely linear fashion has made many appreciate the quirks of non-linear audio processing. Unlike linear designs, non-linear devices require the user to actively experiment with gain staging to find the “sweet spot” of the circuit. Although this requires a small amount of effort on part of the engineer, if used properly, the effect can add a dynamic aspect to performances that can enhance the impact of a song. The non-linearity in the 542’s “True Tape” circuitry and Saturation control necessitate taking note of both drive and input levels. How levels are staged into the 542’s tape circuit can significantly impact tone, depending on the position of the saturation control and the drive level on the tape circuit. As saturation is increased, low frequency compensation is decreased, and at a drive level of 5 the soft clipper enters the circuit. Finding the best balance point between low frequency response, total harmonic distortion, and desired soft clipping require playing with a combination of the saturation, trim and blend controls, and may also include using dynamics processing and proper gain staging before the 542. As a rough guide, we recommend starting with an input signal from around 2-10dBu and applying saturation, 15 / 30 IPS, Silk, and blend to taste. However, it always behooves the engineer to experiment with the balance between the pre-tape signal level and the level of the saturation control to find the best results for each source. To get a better idea of what is happening at different saturation and “Tape Head” levels, look through the frequency response and THD by frequency response graphs in the Technical Specifications section at the end of the manual. Also, like a real tape machine, the flux loops in the “True Tape” circuitry can pick up signals from strong nearby magnetic fields (The most likely sources are nearby power supplies, power amplifiers and computer monitors). Although we have shielded both the unit as a whole and the tape circuit to minimize stray inductance, if you have issues with hum when engaging the tape circuit, try moving the 542 to other spots away from magnetic field radiators until the hum subsides. Adding Texture Both Silk modes are modified and fine tuned by the “Texture” control. By manipulating the Texture control, the amount of Silk can be changed from essentially absent, to roughly four times the amount of coloration found in Silk from the original Portico Series. With Silk / Texture engaged, the distortion characteristic and harmonic content of the unit are very reminiscent of many of Rupert’s vintage class-A designs. These controls add another realm of tonal control to the 542, and should be explored creatively in conjunction with the “True Tape” for best effect. Designed for 500 Series by Mr. Rupert Neve Rupert Neve: “While creating functional 500-series modules is relatively simple, designing those modules to equal their non-500 series counterparts with the current, voltage and space restraints is quite challenging. In creating our Portico 500 Series Modules, we experimented with a number of different transformer and circuit designs to achieve the same presence and sweetness found in the Portico Series of modules. The result of these efforts is that outside of the slightly lowered headroom, our 500 series modules are nearly indistinguishable from standard Portico Series modules, and are perfectly suited for studios of the highest-caliber.” The Portico 542 consists of a line driving amplifier having transformer balanced inputs and outputs. The sonic quality of these amplifiers is such that by providing galvanic isolation, simple single-sided circuit topology and freedom from grounding problems, they are capable of enhancing the sonic quality of many signal sources, especially those of digital origin. The sonic “signature” is one of extreme purity and the image is consistent with that of Rupert Neve’s original designs of 35-40 years ago. TAPE In Sends the signal through the “True Tape” circuitry, which is affected by the saturation, blend and 15 / 30 IPS controls. TRIM Provides +/– 12dB adjustment of level on incoming signal levels, prior to the tape circuit. SATURATION Controls the signal level being sent to the "tape head" circuit. As the saturation level increases, the level on the “record” head rises, and the replay gain is reduced so that the overall output signal level remains more or less constant. In a real tape recorder, you would adjust the record and replay gain controls separately - however, in the 542 the record and replay gain controls are coupled so that the overall signal level only varies as the “Tape” saturation level changes. As you approach maximum saturation setting, the output signal level will drop due to the effect of extreme saturation and soft clip. Additionally, to compensate for low frequency loss at low “record head” levels, the saturation knob also controls a low frequency compensation circuit that boosts low frequencies more at low saturation levels, and tapers off at higher levels. This function can be useful on many sources like bass and kick drum to find the balance between a clean, boosted low end (low saturation) and a denser, more saturated low end (high-saturation). 15/30 IPS Selects the pre-emphasis / de-emphasis, record / replay tape characteristic. The 15IPS mode has a significant “head bump” in the low frequencies centered around 60Hz, as well as a more pronounced roll of in the high frequencies. The 30 IPS mode is generally a flatter response through the high-end with a “head bump” around 120Hz. See the frequency plots on pages 10 & 11. BLEND Controls the mix of pre and post tape signals. This allows the engineer to dial in a subtle amount of the tape effect, to better control the amount of saturation, tone and soft clipping in the post blend signal. As the signal gets more saturated, dialing back the blend can be a great way to impart the feel of tape, while maintaining a similar level of detail and transparency. NOTE: The blend control does not affect the Silk and Texture controls, as that circuitry is located at the physical output of the unit. SOFT CLIP A soft clip engages in the “True Tape” circuitry when the drive meter hits 5 (first yellow LED), and becomes more apparent at higher levels. The soft clip can be used as a way to tame overly transient material like drums, and can be controlled further by using the blend control. SILK / TEXTURE Pushing the Silk button engages the Silk Red circuit, and pushing it a second time introduces Silk Blue circuitry. Silk reduces the negative feedback on the output transformer, adding harmonic content as the texture is increased. Silk Blue mode features more saturation in the lows and low mids, whereas Silk Red accentuates the saturation in the high mids and highs. LEVEL / DRIVE METERS Two eight segment LED bar-graph meters are fitted to the 542 for output level and drive metering. The level meter shows the output level of the 542 before the Silk circuit, and the drive meter reflects the level on the “record head” when the tape effect is engaged. The soft clip circuit is present at Drive levels above 5.

The Portico 543 Mono Compressor delivers the unobtrusive, musical-sounding dynamic control and brick-wall limiting made famous in the Portico 5043 to the 500 series format. The 543 features a fully controllable compressor-limiter with feed-forward / feedback modes, Peak / RMS detection and a built in side chain high pass filter. With an unrivaled heritage and a tremendous feature set, the 543 yields a combination of rich warmth, flexibility and precision that is sure to resonate in the ears of sound engineers the world over. Built around Mr. Rupert Neve’s custom transformer designs, each 543 module encompasses individually controllable threshold, attack, release, makeup gain, ratio, side chain HPF, Feed-Forward / Feed-back selection and Peak/RMS detection modes. With the compressor inactive, the 543 may be used as a transformer-coupled, high-performance line amplifier, and two 543 may be linked for stereo operation as well. The chassis is built to standard 500 series specifications, with power and I/O provided by the rack. How the Compressor 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 543 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. Feed-Forward or Feed-Back? The 543 also has the ability to switch between feed-forward and feed-back modes. If the V.C.A. Control voltage is taken from the 543 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. In most of Mr. Rupert Neve earliest designs, feed-back detection controlling the VCA with a rectified voltage from the unit output was intrinsic to the musical dynamic response. However, the very nature of a feedback compressor limits the attack time of the compression circuit. To offer faster, more technically accurate response times, feed-forward detection was implemented on Mr. Rupert Neve’s more modern designs. With the FF / FB switch, both classic and modern VCA responses are available. RMS or Peak? One of the more unique features of the 543 is the new Peak / RMS mode also found in the Portico II Channel. This switch allows the VCA (voltage control amplifier) to respond to both RMS (Root Mean Square) and peak levels. RMS circuits are considered to better mimic the way the ears perceive apparent loudness, while peak circuits tend to directly respond to the waveform voltage which may be more of a concern for prevention of clipping and maximizing levels. In this case, peak mode uses a combination of both methods to get the best of both worlds, and avoids the drawbacks of each method on its own. 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 543 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 543 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 un-natural 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

The 551 Inductor EQ is the only equalizer for the 500 Series actually designed by Rupert Neve. Featuring 3 bands of EQ inspired by Mr. Neve’s most prized vintage designs, along with custom-wound inductors, transformers and class-A gain blocks, the 551 brings the thick, powerful lows and sweet highs of Rupert’s classics to the 500-Series format for the very first time. The “Best-Of” EQ The 3-band, custom-tapped inductor EQ on the 551 was inspired by RND’s favorite portions of Rupert’s vintage EQ designs. The low frequency band is designed to produce a creamy, resonant bass response – however, unlike the vintage modules that inspired it, the LF band on the 551 can be used as either a shelf or a peak filter, adding punch, dimension, and control to your low end. The 551’s inductor midrange band is ideal for sweetening vocals and instruments while bringing them forward in a mix, and its proportional “Q” response makes it well-suited for minimizing problematic frequencies. The high frequency band is a hybrid vintage / modern design, blending inductor circuitry with capacitor-based topologies to achieve vintage tones with enhanced control. The High Pass filter is a 12dB/octave design with a fixed 80Hz frequency, and can be used in tandem with the low frequency EQ to add low-end presence without clouding the source material. As Rupert originally intended with his most prized classic designs, each EQ section uses low-feedback, class-A discrete electronics to prevent low-level artifacts and harshness from detracting from the tonal shaping. However, this new circuit is a decidedly modern design with updated techniques and components that were simply not available 35 years ago, and should not be considered a “clone”. Both the high and low band can be switched from shelf to peak curves and offer 15 dB of boost or cut. The high band can be switched from 8 kHz to 16 kHz, and the low band can be selected at 35 Hz, 60 Hz, 100 Hz or 220 Hz. The inductor based Mid Band offers 6 center frequencies; 200 Hz, 350 Hz, 700 Hz, 1.5 kHz, 3 kHz and 6 kHz. The Mid Band also has a “Mid Hi Q” switch to narrow the bandwidth (increase the Q) of the filter. Why Inductors? So, what are inductors? They’re wires wound around a coil that provide a form of frequency-dependant resistance. When they saturate, they bring out beautifully musical harmonics that give your tracks the smooth, polished sound that has made Rupert’s consoles and equipment so desirable for over fifty years. While it is possible to create a functioning EQ using off-the-shelf inductors, the attention to detail in controlling variables such as the winding and core materials in relation to the surrounding circuitry allows the 551 EQ to capture the vitality of Rupert’s older designs. While capacitor-based designs – like the 5033 – are often preferable for surgically sculpting tracks, the inductor EQ found in the 551 is capable of adding punch, vibrance, and personality to the source material that goes far beyond general frequency modification. Designing for the 500 Series Rupert Neve: “While creating functional 500-Series modules is relatively simple, designing those modules to equal their non-500 series counterparts with the current, voltage and space restraints is quite challenging. In creating our own 500-Series modules, we experimented with a number of different transformer and circuit designs to achieve the same presence and sweetness found in the Portico Series of modules. The result of these efforts is that outside of the slightly lowered headroom, our 500-Series modules are nearly indistinguishable from standard Portico Series modules, and are perfectly suited for studios of the highest-caliber.” With single-sided circuitry and transformer-balanced inputs and outputs, the 551 is capable of enhancing the sonic quality of many signal sources, especially those of digital origin. The sonic “signature” is one of extreme purity, and the image is consistent with that of Rupert Neve’s original designs of 35-40 years ago. This is an EQ with a truly vintage soul. Power and audio connectivity is supplied through any 500-Series compatible rack.   Features   Inductor EQ The first 500-Series EQ designed by Rupert Neve. 551 EQ's are built around custom-wound Inductors and are based on our favorite bands from Mr. Neve's classic EQ modules Low EQ +/- 15dB Shelf or Peak, selectable at 35 Hz, 60 Hz, 100 Hz or 220 Hz Mid EQ +/- 15dB with 6 center frequencies; 200 Hz, 350 Hz, 700 Hz, 1.5 kHz, 3 kHz and 6 kHz, with High Peak switch to narrow the bandwidth (increase the Q) of the filter High Shelf +/- 15dB Shelf or Peak selectable at 8 kHz or 16 kHz HPF 12 dB/octave high pass filter with a fixed 80 Hz frequency Transformer I/O Built around Rupert's custom transformers, designed especially for the 500-Series format

Based around the high voltage, discrete and class-A signal paths made famous in the 5088 Mixer and the Portico II: Channel, the Portico II Master Buss Processor is creative tool that redefines the boundaries and limitations of traditional 2-channel compression and limiting. With input and output transformers designed and implemented by Mr. Rupert Neve, the high-voltage 72V topology found in the Master Buss Processor (MBP) will integrate flawlessly with virtually any system. Additionally, the MBP incorporates mastering grade detented pots throughout to fine tune its revolutionary dynamics, tone, and stereo field controls. This new topology is a significant evolution of Mr Rupert Neve’s classic designs with appreciable benefits to headroom, dynamic range, distortion, noise, slew rate, bandwidth, and accuracy while still providing for the sweet, musical performance that has been a part of countless recordings.The CompressorThe MBP’s two compressor sections allow virtually limitless possibilities in dynamics for either dual mono or stereo sources, with controls for ratio, threshold, attack, release, blend, side chain HPF, limit and make up gain. With the stereo link control engaged, Ch. A settings act as the master control for convenient operation. When engaged, the compressor section can be used in both feed-forward and feed-back modes to provide a transparent modern response (feed-forward), or a smoother more musical vintage response (feed-back). Peak mode alters the compressor’s attack to react to peak transients with a roughly .1ms response time. When the Peak switch is disengaged, the compressor responds to the RMS signal in conjunction with the attack and release settings. SC HPF inserts a high pass filter at 250 Hz into the side chain to deal with intense low frequencies that may skew the response of the VCA with certain songs and instruments. “Blend” creates a parallel mix between the compressed and dry signals. By mixing the compressed and dry signals, it is possible to increase the volume of quieter elements in the source material (for instance, delicate snare brushing on a track with much louder hits), while maintaining a natural dynamic feel for the louder elements.To further control the side chain, there is also an insert “send” and “return” that may be paired with an external EQ or other filters for additional manipulation. The “return” may also be used as a “Key” input for ducking one signal to another (for instance, a voice-over keying the compressor to duck a background music track).The Stereo Field EditorThe stereo field editor on the MBP takes traditional M-S techniques to new heights with width, depth and corresponding bandpass filters.The width control enables the user to increase or decrease the width of a stereo image (wide/mono) and adjust the amount of ambience inherent in the recording. As the width control is rotated toward wide, the amount of difference material is boosted, often resulting in more ambient material, and accentuated stereo reverbs. Conversely, the stereo field is contracted when rotated to mono, and, if the left and right channels are highly coherent (i.e. both channels include closely similar material that is in phase), this mono content is enhanced. If the phase of one of the input channels is then reversed the mono content may be virtually eliminated. Because the amount of effect the width control has is entirely dependent on the amount of stereo information in the original source material and the interplay between the stereo field editor′s other controls, listening and experimentation are essential for the best results.The LimiterThe Portico II Master Buss Processor also features an extremely versatile, transparent and musical limiter. At first glance, one might scoff at the single knob operation, however this limiter is extremely intelligent, knowing how to appropriately respond to the various signals presented to it. Our new Adaptive Release Technology is behind this revolutionary performance. Using a blend of release time constants, this limiter will simultaneously respond quickly to transient material (such as the “snap” of a snare drum) and slowly to more sluggish signals (such as a bass guitar). This configuration allows the limiter to grab a transient and let go just an instant later, while also dealing with more constant signals in a slower, more musical way. In this manner, the MBP Limiter can provide a much more aggressive amount of limiting than typically possible, while maintaining the essential character of the music and remaining free of the modulation distortion usually found in a fast acting limiter.Specifications:Frequency Response: Main Output, no load,             –3 dB @ 4 Hz             –3 dB @ 120 kHzMaximum Output Level: Maximum output from 20 Hz to 40 kHz is +24.5 dBu.Total Harmonic Distortion and Noise:    @ 1kHz, +20 dBu output: Better than 0.006%@ 20Hz, +20 dBu output: Better than 0.20%- As above, Silk Blue Engaged, Texture fully CW: Better than 2.5% - As above, Silk Red Engaged, Texture fully CW: Better than 3.5%@ 20kHz, +20 dBu output: Better than 0.020%Slew rate Better than 4 V/uSCompressorThreshold:  Variable from -30dBu to +20dBuRatio:      Variable from 1.1:1 to 40:1 (LIMIT)Blend:      Variable from 0% to 100% Compressor Gain:       Variable from -6 dB to +20 dBAttack: Variable from 20 mS to 75 mS (0.1mS with “FAST”)Release:     Variable from 100mS to 2.2 SecondsPower Consumption.65A @ 117 VAC, .35A @ 220 VACFuse5mm x 20mm, 2.5 Amp, fast acting, ceramic body – Bussman type GDA 2.5A or equivalentSize 3.5”H (2U), 19”W, 12”DShipping Size 5”H (2U), 23”W, 12”DShipping Weight 20 lbs

With abundant power and versatile connections, the R6 delivers peace of mind for engineers who demand a higher degree of confidence in their 500 series racks. Power You Can Trust Power-wise, the R6 has 150% the required current for a 6-space chassis to prevent the power rails from failing under a higher than expected load. To help monitor and troubleshoot problematic modules, the R6 is equipped with LED current metering to show how much power is being used. The internal power supply itself has been carefully designed and double shielded to avoid significant magnetic induction in any of the channel positions. With such attention to providing and monitoring power, the R6 helps your modules realize their fullest potential. Connect Like Never Before With a plethora of connections available, the R6 backpanel is practically a patchbay on its own. The R6 features 8 channels of balanced I/O options including DB-25, XLR and TRS that may be used interchangeably. This versatility is especially handy when you are taking the R6 with you to another environment where you are unsure of the cables available, or if you need to convert DB-25, XLR or TRS connections to another format using the THRU functionality on channels 7-8. Solid Steel Construction The chassis is comprised of solid steel with bumpers to support the unit in both horizontal and vertical configurations, and features a collapsable handle for portability. All connectors and fittings are of the highest quality to ensure that the R6 will hold up to many years of use. A New Level of Confidence in the 500 Series Because the R6 is built to 500 series specifications, it will work flawlessly with any properly designed 500 series module you wish to include in it. To help accommodate modules that are slightly out of spec, the R6 has variable-position screw holes to make the installation process go more smoothly. The 500 series link function can be enabled in pairs on the R6 using the link jumpers on Channels 1-2, 3-4, or 5-6. Matching blank panels are also available to cover any empty slots. If you want to get the very best performance out of your 500 series modules, the Rupert Neve Designs R6 is the serious rack for the serious sound you want.

Power You Can Trust Power-wise, the R10 has more than 150% the required current for a 10-space chassis to prevent the power rails from failing under a higher-than-expected load. To help monitor and troubleshoot problematic modules, the R10 is equipped with LED current metering to show how much power is being used. The internal power supply itself has been carefully designed and double-shielded to avoid significant magnetic induction in any of the channel positions. With such attention to providing and monitoring power, the R10 helps your modules realize their fullest potential. Solid Steel Construction The chassis is comprised of solid steel with sliding nuts to accommodate various manufacturers modules. All connectors and fittings are of the highest quality to ensure that the R10 will hold up to many years of use. A New Level of Confidence in the 500 Series Because the R10 is built to 500 series specifications, it will work flawlessly with any properly-designed 500 series module you wish to include in it. To help accommodate modules that are slightly out of spec, the R10 has variable-position screw holes to help make the installation process as smooth as possible. The 500 series VCA buss link function can be enabled in pairs on the R6 using the link jumpers on Channels 1-2, 3-4, 5-6, 7-8 or 9-10. Enabling link allows compatible compressor modules like the 543 to share VCA control when their links are enabled. Matching blank panels are also available to cover any empty slots.

Frustrated with a lack of performance from available DIs, Mr. Rupert Neve set out to design a new direct interface that conveys the undiminished tone and vitality of the source instrument while balancing and isolating the original signal. The resulting RNDI delivers on that promise with a powerful and vibrant direct sound capable of reproducing the full harmonic depth of basses, guitars, acoustic instruments, and professional line level sources. With portable, powerful, larger-than-life tone for your instrument signals and amplifier signals, the RNDI is truly the first standalone DI worthy of the Rupert Neve name. The Development After coming into existence during an experimentation with new transformer designs, the RNDI was fine-tuned over a series of listening tests against the the most popular high-end DIs available. It was in these tests where the RNDI always seemed to add another dimension to the sound and bring the instruments to life. The lows felt richer, deeper and fuller, and the highs had outstanding clarity without any added harshness. Most importantly, the design team noted: “As musicians, the RNDI consistently stood out as the DI we wanted to play through.” The Elements of Direct Tone The RNDI’s signature sound is the product both of new custom Rupert Neve-designed transformers and class-A biased, discrete FET amplifiers. The carefully orchestrated union of these two elements is key to the RNDI’s unique response. The transformers provide superior passive isolation while adding musical harmonics and dimension to the sound. The low impedance, transformer balanced output excels at driving long cable runs, and performance is immensely consistent regardless of the connected equipment. This is very important for both live and studio environments where the unamplified signal may travel almost 100ft before hitting an amplifier. In other designs, these high capacitance lines cause major reductions in high frequencies, however the output stage of the RNDI unrivaled at handling long runs with minimal losses. The class-A and discrete FET amplifier in the RNDI is powered by industry-standard 48V phantom power on the XLR connection, and creates a very high impedance input of 2M Ohms that ensures consistent performance with a wide variety of instruments. The significance of the RNDI’s class-A design is that there is no crossover distortion added to the signal, which can add upper order odd harmonics to the sound that are musically dissonant in nature. With the RNDI, the overwhelming majority of harmonic content is 2nd order (ocatve) with some 3rd order present (fifth above octave). These musically relevant harmonics – present in subtle amounts – actually add to the richness of the original signal. The discrete aspect of the RNDI design means there are no ICs or digital components that can have negative effects on the tone. These efforts to harmonize the performance of the transformer and the FET amplifier have resulted in the RNDI’s extremely well balanced response. The low end tonality is thick and powerful, with frequency response several octaves below audibility. The high end is clear, present, and smooth, with a frequency response extending beyond 100kHz. The phase coherence is unrivaled at all frequencies, which keeps the sound as natural as possible – especially vital when blending the direct signal with a microphone capture of the same source. Simply put, there is no DI ever made that performs like the RNDI. Game-Changing Headroom In instrument mode, the RNDI’s high input headroom of +21.5dBU is capable of handling not only instruments, but professional, line level sources like interfaces, CD players and drum machines without a pad. This allows the RNDI to serve as a way to “Re-Preamp” any previously recorded track using your interface and a desired pre-amp. To do this, simply connect a channel output of the interface to the input of the RNDI and connect the RNDI’s output to the preamp and engage 48V. By “Re-Preamping” you can apply the tone of another preamp to the source and more accurately automate or control the drive level on the preamp. In speaker mode, the RNDI can handle the screaming output of a 1000-watt power amplifier (92 Vrms or 266Vp-p) to capture the full tone of the instrument, preamplifier, EQ, inserts, and the amplifier’s output stages before it hits the speakers. This technique allows the engineer to avoid any bleed in a live environment and any unwanted tone added by the speaker cabinet or microphone. When used with modern speaker emulation plug-ins, this technique allows the engineer to take advantage of the flexibility of digital modeling, and the superior non-linear response of an actual analogue amplifier. Speaker and Instrument Mode User Notes In a speaker feed configuration, the DI is used post-power amplifier to capture the tone of the preamp and power amp. Be sure to switch the RNDI input level to speaker and connect the amplifier and speaker BEFORE turning the amplifier on. Note: with tube power amps, THE SPEAKER MUST BE CONNECTED to the THRU connection to provide a load for the amplifier. Please read your amplifier’s manual to discern its range of acceptable loads. Solid state amps can generally be run without a speaker connected, although you should always consult your amplifier’s manual to be sure. The RNDI can handle the full amplified output of a 1000W amp, so you can confidently drive the output stages of any amp less than 1000W to get your desired tone. In an instrument configuration, the DI converts the impedance of the instrument signal, balances the signal (if unbalanced), provides a buffered output stage to send to a separate mic preamp, and optionally sends the THRU connection to the amp input. To get the best performance out of your RNDI, we recommend you use the best available cables and mic preamps, and output the maximum level from your instrument. The instrument connects to the IN jack, and if you want to feed an amplifier, connect the THRU output to your amplifier’s input. The output of the RNDI in both instrument and speaker mode feeds a separate preamp for final gain. See the diagrams below for standard connection examples.

A Whole New Vintage – Over fifty years in the making, the Shelford Channel is the definitive evolution of the original technologies in Rupert’s classic console modules like the 1073, 1064, 1081 & 2254, thoughtfully advanced and refined for the 21st century studio. The Shelford Channel is built around Rupert Neve’s first new transformer-gain, class-A microphone preamplifier in over 40 years, the “best-of-the-classics” inductor EQ section from the Shelford 5052, a tone-packed Diode bridge compressor, the analog power of variable Silk saturation, a new dual-tap transformer output stage for maintaining headroom or allowing the full driving of the Channel without clipping standard converters, and twice the operating voltage of vintage designs. With richly-colored tonal options for making bold statements with your music, and precisely-engineered detented controls for recall, the vintage-inspired Shelford Channel maintains the soul of Rupert’s classic designs with new levels of versatility, delivering what can only be described as the combined essence of fifty years of Rupert Neve’s designs.