Rupert Neve Designs Portico II Channel Strip Self-powered channel module comprised of a fully-featured mic pre, four-band EQ, compressor-limiter, "texture" control and level metering
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For recording and mixing engineers, the greatest challenge will always
be to capture and transform disparate 2-D elements into an engrossing
3-D vision that elicits the same raw emotions and compelling vibrance
as the live performance. In designing the Rupert Neve Portico II Channel Strip,
every possible attention has been paid towards not only producing the
most accurate, sweet sounding audio topologies, but also enabling
engineers to boldly shape or fine tune tracks to the limit of their
imaginations.
A self-powered 2U channel module comprised of a fully- featured mic
preamplifier, 4-band EQ, compressor-limiter, “texture”control and level
metering, The Portico II Channel includes a bevy of new features
including: Variable Silk / Silk+ Texture control, a fully tunable
“de-esser”, multiple VCA filtering and detection options, a
transient-optimized swept HPF and parallel compression blending. With
its simple yet powerful topologies and extensive feature set, every
element of the Portico II: Channel is geared towards empowering
recording artists to realize these visions.
Input Section
Input signals may be derived from any of three sources; Microphone,
Line or DI. The Microphone input has a 10K Ω non-reactive input
resistance that handles a full 26dBu signal without the need for a pad.
A primary Gain control provides 66dB of gain in 6dB increments for easy
recall with a +/- 6dB Trim for fine adjustment. A transient-optimized
HPF continuously covering the range from 20-250Hz is included. In
addition the usual 48V Phantom Power switch, Phase Inversion, Signal
Present indicator and a Mute switch are included. The pre-amp is a TLA
non-reactive design that precludes the loading of microphones with
limited driving capability and which maintains a 2 dB noise figure over
a wide range.
Inserting a plug into the DI input, selects a 3M Ω Discrete FET DI
circuit that includes the transformer-coupled pristine topography that
optimizes both the microphone and DI inputs, allowing low impedance
microphones and high impedance sources like electric guitars and basses
to deliver their optimum performance. Primary Gain and Trim controls
are fully operational. A “Thru” jack on the front panel that duplicates
the unaffected source signal allows the use of an external amplifier if
required. A “Line” switch selects the independent Line XLR non-reactive
input circuit that includes the HPF and Level trim controls.
Texture
One of the key developments in the Portico II is the new Texture
section. 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
countless tonal options in one device. The texture section features
distinct modes, controlled by a potentiometer from barely audible to
dramatic!. With that said, we have placed great care insuring 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.
Like the original Portico, Silk mode works by reducing negative
feedback on the output transformer and adjusting the frequency response
to more closely resemble Mr. Rupert Neve’s vintage designs. “Silk +”
mode pushes this technique still further, achieving a more harmonically
rich sound.
Like the original Portico, Silk mode works by reducing negative
feedback on the output transformer and adjusting the frequency response
to more closely resemble vintage designs by Mr. Rupert Neve. Velvet
mode pushes this technique further, by increasing saturation on the
output transformer to achieve a more colored sound. With that said, we
have placed great care insuring that the musical integrity of source
material itself will not be compromised by these harmonic controls
(these are not to be confused with controls 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.
Equalizer
The EQ topologies in the 4-Band Equalizer of the Portico II combine the
best-loved sound of several classic designs, but are also capable of
extremely fine surgical adjustments as well as dramatic boosts or cuts.
By default, the EQ section follows the mic preamplifier and HPF, and
precedes the compressor, but this sequence may be reversed by engaging
the Post Comp switch
The Low Shelf has an independent engage switch, Classic Peak/
Accelerated Shelf selection, with +/- 12dB level adjustment, and
selectable turnover frequencies of 35, 60, 100, and 220 Hz. The Fully
Parametric LMF and HMF bands have a joint engage switch, providing +/-
12dB level adjustment, continuously variable “Q” from 0.7 to 5 and
continuously variable frequency ranges from 70 to 1.4KHz and 700Hz to
14KHz. In addition to its standard capabilities, the HMF band can also
be used to precisely tune a new De-Esser circuit.
The De-Esser can be varied from off to full effect, and uses the
Frequency, and “Q” controls to tame harsh sibilance in vocals and
instruments with an independent high-mid limiter. Even when the
De-Esser is on, the EQ level may still be used. The High Frequency
shelf has independent engage switch, Classic Peak/ Accelerated Shelf
selection, +/- 12dB level adjustment, and selectable turnover
frequencies of 4.7, 6.8, 12, and 25kHz. When two Portico II Channels
are used side by side, the EQ section can also excel at stereo material.
Compressor
A further array of tools are used to craft dynamic response. The
Portico II’s compressor section is exceptionally flexible. Like the
Portico 5043, the compressor a choice of Forward Feed / Return Feed
modes, either providing a transparent modern response, or a smoother
more musical vintage response. Along with FF/FB modes, there are also
1:1 to 40:1 ratio controls and threshold from -30dBu to +20dBu,
together with Attack from 20 to 75ms (.1 ms in fast mode), Release from
100ms to 2.5s, and Make up gain from 0 to 20dB with a Stereo Link.
The Portico II compressor however incorporates a number of new ways to
tame or enhance dynamics. HPF to SC inserts the High Pass Filter into
the side chain to deal with intense low frequencies that may skew the
response of the VCA with certain songs and instruments. The “Fast”
switch alters the compressor’s attack to react to transients with a
roughly .1ms response time. When “fast” is disengaged, the compressor
responds to the RMS signal in conjunction with the attack and release
settings.
“Blend” works by creating 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 under another. (for instance, a voice-over
keying the compressor to duck a background music track). By connecting
the “link” jack on the back of the Portico II to another Portico II
link jack and engaging the Link buttons, the compressor section may be
used for stereo material.
