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Monitor Controller
Rupert Neve Designs Portico II Master Bus Processor
incl. VAT
5.279€ 5.120,63€
- VCA compressor with feedback & forward detector
- Parallel compression
- Limiter
- Depth & Width EQ
Based on the discrete high-voltage and Class A signal paths made famous in the 5088 mixing console, the Portico II Master Buss Processor is a creative tool that redefines the boundaries and limitations of traditional 2-channel compression and limiting. Although originally designed for mastering applications, the MBP has quickly become a favorite for mixing engineers and even FOH engineers. From mixing bass-heavy EDM sounds to delicately mastering a chamber ensemble, it has something for everyone – regardless of application or genre.
- VCA Compressor
- Limiter
- Stereo field EQ
- Silk (Red / Blue) with texture slider
- Parallel compression
- External side-chain input
- 31-step rasterized switches
- Frequency response: 5 Hz – 100 kHz: +/- 0.5dB typical
- Output: +25 dBu
Classic Design Evolved
With input and output transformers designed and implemented by Rupert Neve, the Master Buss Processor’s 72V high-voltage topology blends seamlessly into virtually any system. In addition, the MBP features gridded controls throughout, allowing fine-tuning of the revolutionary dynamics, tone and stereo field controls. This new topology is a significant evolution of Mr. Rupert Neve’s classic designs with noticeable benefits in headroom, dynamic range, distortion, noise, slew rate, bandwidth and accuracy, while still providing the sweet, musical performance that is a part of countless recordings.
Threshold
This 31-degree potentiometer is used to set the level at which the compressor starts to attenuate the signal.
It is fully adjustable within a signal level range of +20 dBu to -30 dBu.
If the input signal level of the compressor exceeds the set threshold value, compression takes place.
Ratio
This 31-degree potentiometer is used to set the compressor slope between 1:1 and 40:1.
Blend
This 31-turn potentiometer is used to set the mixing ratio of the uncompressed (dry) signal with the compressed (wet) signal.
When Blend is turned fully counterclockwise (CCW), only the uncompressed signal can be heard.
If Blend is set fully clockwise (CW), only the compressed signal can be heard.
By setting Blend to a value between 0% and 100%, parallel compression is achieved.
Comp In
This illuminated pushbutton switch activates the compressor limiter range for the respective channel.
Activating or deactivating the “Comp In” switch has no effect on the SILK status and does not affect the SFE status unless SFE to COMP is activated.
Bypass All
This illuminated pressure switch switches the hard-wired bypass of the PIIMB on both channels.
FF/FB
This illuminated push-button switch toggles between two different compression modes: Feed Forward and Feed Back.
The difference between these two compression modes is that the side-chain detector of a feed-forward compressor is fed from the compressor input before the gain control, while the side-chain detector of a feed-back compressor is fed from the compressor output after the gain control.
Gain
This 31-degree potentiometer offers two different functions.
When used with the compressor, the gain control serves as a standard make-up gain, allowing the user to add gain to the compressed signal to adjust the level of the bypassed signal.
In conjunction with the PIIMB limiter, the gain control allows the user to set the desired “upper limit” of their mix (in dBu) using the “Limit” potentiometer.
Once the limit potentiometer is set to the desired maximum level, the user can increase the gain control until the average level of the mix reaches the desired volume.
The gain control drives the level of the mix up to the set limiter threshold, but does not exceed it.
Attack
This 31-degree potentiometer is used to set how quickly the compressor attenuates the input signal as soon as it exceeds the set threshold value.
In the fastest setting (20 ms), the compressor can attenuate the leading edge of a transient, e.g. the first beat of a drumstick on a snare drum.
By compressing the first hit, the overall result of the compression will increase the decay or resonance of the snare.
At slower attack settings, the compressor ignores most of the initial attack and instead dampens the decay of the drum, emphasizing the hit of the drumstick on the snare drum.
Release
This 31-degree potentiometer is used to set how quickly the compressor returns to “unity gain” after falling below the threshold value.
In general, slower release times minimize compression artifacts, especially in combination with slower attack times.
Faster release times can be used to maximize the apparent loudness.
S/C 125 Hz
This illuminated pressure switch activates a 125Hz 12dB/octave Sallen Key high-pass filter in the compressor limiter side-chain.
Removing low-frequency information from the compressor limiter side channel detector can help minimize compressor pumping and over-compression of rhythmic dynamic information that tends to be in the lower frequency range: Kick drums, bass guitar, etc. This usually results in a smoother compression characteristic.
RMS / PEAK
This illuminated pushbutton switch changes the detection of the compressor side channel.
The default detection response is RMS (Root Mean Square) averaged, which better mimics the way our ears perceive loudness.
Detection in PEAK mode responds more directly to the incoming compressor audio signal, which can be used to avoid clipping and maximize overall loudness.
Link
The Link control combines the side-chain information of both compressor-limiter channels and activates the controls of channel A as MASTER.
During linking, both channels are controlled directly by the controls of channel A.
Limit
This potentiometer with 31 detents controls the threshold value of the soft clip limiter section.
The limiter is deactivated until the user turns the limit potentiometer beyond the 3rd detent position (+24 dBu) from the “OFF” position.
If the user turns the threshold control clockwise, the release time of the limiter is gradually extended.
This results in a smoother dynamic response as the limiting increases.
The limiter side chain has a composite timing network that allows the limiter to respond equally well to fast transient material as it does to less dynamic program material.
The limiter can be used as a maximizer by setting the limit potentiometer to the desired maximum level in dBu and then increasing the gain value until the desired program volume is reached.
Depth (activated/deactivated with the ‘Depth In’ switch)
This 31-degree potentiometer is used to set the overall level of the mid-range information in the M-S coding of the SFE.
In the MIN position (far left), the midrange information in the stereo image is suppressed, while in the MAX position (far right) the midrange information is emphasized.
If the Depth control is in the 12 o’clock “0” position, no depth correction can be heard.
Width (activated/deactivated with the ‘Width In’ switch)
This 31-degree potentiometer is used to set the overall level of the side information within the M-S coding of the SFE.
In the MIN position (far left) the side information in the stereo image is suppressed, while in the MAX position (far right) the side information is emphasized.
If the Width control is in the 12 o’clock “0” position, no width processing is audible.
Depth EQ
This illuminated push-button switch activates the 4-position rotary switch, which allows the user to choose between four different EQ settings for depth processing: Low Frequency (LF), Low Mid (LM), High Mid (HM) and High Frequency (HF).
Width-EQ
This illuminated push-button switch activates the 4-position rotary switch, which allows the user to choose between four different EQ settings for width processing: Low Frequency (LF), Low Mid (LM), High Mid (HM) and High Frequency (HF).
SFE to Comp
This illuminated pushbutton switch routes the depth and width information to the Channel A and Channel B compressor paths respectively, allowing the user to manipulate the dynamic content of the mid and side information.
When enabled, the user can use the width and depth controls to mix the amount of compressed mid and side information that is mixed back into the audio path.
When SFE to Comp is enabled, the stereo compressor is only available for SFE dynamics processing and is not functional in the main sound path.
Silk
This illuminated push-button switch toggles between the available harmonic saturation modes of the SILK transformer: OFF, RED and BLUE.
Red Silk has an emphasis on the high frequencies associated with the harmonics of the transformer, while Blue Silk has an emphasis on the low frequencies associated with the harmonics of the transformer.
Texture
This 31-degree potentiometer allows the user to adjust the level of saturation of the Silk transformer that is added to the signal path when Silk Red or Blue modes are activated.
Gain reduction display
This LED bar display with 16 segments shows the gain reduction of the compressor limiter in dB.
The LEDs light up yellow after 4 dB attenuation and red after 8 dB.
Output display
This 16-segment LED bar display shows the output level in dBu.
The top red LED is calibrated so that it lights up at +25 dBu, which corresponds to the maximum output level of the master bus processor.
Side chain send/return
External compressor side chain send and return on 2 x TRS sockets.
The send is always active and normalized to the return.
NOTE: If the send and return are connected to a patchbay, the send should be connected to the return by default, as the compressor will not be triggered if the return has no signal.
Internal universal power supply unit
EIC connection for worldwide AC power supply from 100-240V in 2U rack housing.
The compressor
The MBP’s two compressor sections offer virtually unlimited dynamic range for dual mono or stereo sources with controls for Ratio, Threshold, Attack, Release, Blend, Side Chain HPF, Limit and Make Up Gain. When switched on, the compressor can be used in both feed-forward and feed-back mode to achieve a transparent, “modern” response (feed-forward) or a softer, more musical “vintage” response (feed-back). Peak mode changes the attack of the compressor so that it responds to peaks with a response time of around 0.1 ms. When the Peak switch is deactivated, the compressor responds to the RMS signal in conjunction with the Attack and Release settings.
SC HPF inserts a high-pass filter at 125 Hz into the side chain to suppress intense low frequencies that can distort the response of the VCA on certain songs and instruments. Finally, Blend creates a parallel mix between the compressed and dry signals. By blending the compressed and dry signals, it is possible to increase the volume of quieter elements in the source material (e.g. delicate snare brushing in a track with much louder hits) while maintaining a natural dynamic feel for the louder elements.
The limiter
The MBP also features an extremely versatile, transparent and musical limiter. At first glance, you might scoff at the one-button operation – but this limiter is extremely intelligent and knows how to respond appropriately to the different signals it is presented with. Behind this revolutionary performance is our new Adaptive Release technology. Using a mixture of different release time constants, this limiter simultaneously reacts quickly to transient material (e.g. the “snap” of a snare drum) and slowly to slower signals (e.g. a bass guitar). This configuration allows the limiter to capture a transient and release it just a moment later, while handling more constant signals in a slower, more musical way.
In this way, the MBP’s limiter can provide a much more aggressive level of limiting than is normally possible, while preserving the essential character of the music and avoiding the modulation distortion that normally occurs with a fast-acting limiter. In addition, the limiters share the same discrete Class A gain module and VCA with the compressors, so when using the limiter there are no additional stages that the music would need to pass through.
The stereo field editor
The MBP’s stereo field editor sets new standards for traditional M-S techniques with its width, depth and corresponding bandpass filters.
The width control allows the user to increase or decrease the width of a stereo image (wide/mono) and adjust the amount of ambience contained in the recording. If the Width control is turned towards Wide, the amount of difference material is increased, which often results in more ambient material and accentuated stereo reverb. Conversely, the stereo field is reduced when turned to mono, and if the left and right channels are very coherent (i.e. both channels contain very similar material that is in phase), this mono content is increased. The depth control is used to adjust the spatial positioning of elements in the sound stage. Elements placed in the center, such as solo instruments or vocals, can be brought to the front of a mix in relation to the supporting instruments. In many cases, these elements can be virtually eliminated without affecting the music bed. In conjunction with the depth and width controls, you can effectively change the perceived room atmosphere and dimension.
To fine-tune the SFE, there are individual filters that can be used to select which frequency information is reintroduced by the Width and Depth circuits, so that each effect is tailored to a specific bandwidth. By pressing the SFE TO COMP button, the mid and side signals can each be routed to the MBP’s two compressors, allowing the unit to operate in full M-S mode (as opposed to standard L-R operation).
Silk
Every mix deserves its own treatment. The Silk & Texture circuit lets you fine-tune the amount (and type) of harmonic content in the output stage. This means your signal can be adjusted from extremely transparent to thick, weighty settings that produce many times the timbre of Rupert’s vintage modules – and in two very unique modes. Whatever sound you’re looking for, Silk will help you achieve it.
Choose your Silk flavor and turn up the Texture knob to get a rich, saturated vintage sound – or turn Silk off completely for a clear, open sound. The choice is yours.
When you apply SILK RED, you amplify the harmonic content produced by the treble and high mids of your source. This adds sparkle to the top end and is often ideal for sources such as vocals, snare, strings, pianos and other acoustic instruments.
With SILK BLUE you amplify the overtones produced by the bass and low mids of your source. This “boosts” a signal from bottom to top, making it a good choice for drums, bass guitars, heavy electric guitars, male vocals and synthesizers.
| Weight | 9,1 kg |
|---|---|
| Dimensions | 59 × 32 × 13 cm |
| No. of analogue inputs | 2 |
| No. of analogue outputs | 2 |
| Connections | XLR |
| Format | 19inch |
| Rack Units (RU) | 2 |
| Tube | No |
| Compressor Type | VCA |
| Channels | Dual-Mono |
| Manufacturer | Rupert Neve Designs |
| Recall - Remote | No |
| Signal Level | Line Level |
| Application of use | Mastering |
| Sends | Yes |
| Returns | Yes |
| Stereo Link Option | Yes |
| Sidechain Int | Yes |
| Sidechain Ext | Yes |
| Mix Dry/Wet | Yes |
| Stepped potentiometers | Yes |
Product safety
Manufacturer information
Rupert Neve Designs, LLC.PO BOX 1969Wimberley, TX 78676USA+1 (512) 847-3013
Person responsible for the EU
Hinweis: Dieses Produkt wird von einem Drittstaat-Hersteller durch unseren Zulieferer importiert. Nach unserem Kenntnisstand hat der Hersteller keine verantwortliche Person in der EU benannt, wie es die EU-Produktsicherheitsverordnung fordert.Wir haben den Hersteller bereits aufgefordert uns die notwendigen Informationen zur verantwortlichen Person zur Verfügung zu stellen.Wir bemühen uns, alle gesetzlichen Anforderungen und Sicherheitsstandards zu erfüllen, übernehmen jedoch keine Haftung für mögliche Konsequenzen, die sich aus der fehlenden Benennung einer verantwortlichen Person durch den Hersteller ergeben. Der Käufer ist verpflichtet, vor der Nutzung des Produkts sicherzustellen, dass es für den vorgesehenen Zweck geeignet ist und den geltenden Vorschriften entspricht. Dazu empfehlen wir auch den Hersteller vor dem Kauf des Produktes zu kontaktieren.Weitere Informationen dazu finden Sie in unseren Allgemeinen Geschäftsbedingungen.Zulieferer und Importeur:Mega Audio Gesellschaft für professionelle Audiotechnik mbHFeldborn 355444 WaldlaubersheimDeutschland+49 (0) 6707 91452-2
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Rupert Neve Designs Portico II Master Bus Processor
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