Portico 5016 er satt sammen av én komplett preamp fra 5012 og én Neve DI boks som kan brukes sammen eller hver for seg. DI-delen av boksen har en utrolig smart løsning på fase siden, man har nemlig trinnløs justering av fase for å kunne finne sweet-spotet mellom det som spilles inn på preamp siden og det som spilles inn på DI siden. I tillegg har man gain så det monner, 72db på preamp-siden og 32db på DI-siden.

 

Rupert Neve er et velkjent navn for de fleste i lyd- og musikkbransjen. Etter å ha startet flere suksess-bedrifter, inkludert Neve og Focusrite, samt at han en periode lisensierte ut navnet sitt til blant andre Amek, er han nå tilbake med sitt helt egne design og en serie flunkende nye NEVE bokser. Bare det å ha en original Neve i studioet løfter deg opp fra vrimmelen av hjemmestudioer.

 

Portico serien
I byggebransjen er Portico et flott inngangsparti eller dør. Det er også Neves ide med denne serien: det skal være en elegant og solid inngangsport til lydens verden. Hver boks fungerer alene eller sammen som byggeklosser og tilbyr dermed mange av de samme mulighetene som de store konsollmikserne fra gamle dager.
 
Rupert Neve 5016 Details
The Portico 5016 is a half rack, 1U module that embodies a Microphone Preamplifier and a DI, which can be used separately or together to provide an innovative and powerful approach to the recording of musical instruments. Both channels of the 5016 are transformer coupled which greatly assists with the avoidance of hum loops and ensures the classic musical sweetness for which Portico modules are well-known and the DI includes a powerful new Phase-Rotate control that allows the Direct Input to be manually phase aligned in relation to the microphone signal! The 5016 may be racked in the control room or placed out on the studio floor. It includes a full-featured, transformer coupled microphone preamplifier identical to the 5012 with Silk, a swept High Pass Filter from 20-250Hz, 48V Phantom, Phase Reverse and a total of 72 dB of Gain. The independent DI channel provides selectable Instrument or Line level inputs, with up to 35dB of gain for the instrument input.
 
Direct Input Amplifier
The DI channel accepts either Instrument or Line level signals via a balanced TRS jack on the front faceplate. When Instrument level is selected, the input impedance is 3 Megohms and the gain range is +20dB to +40dB. When the Line Input is selected the input impedance is 10K, and the gain range is from 10dB to +10dB, better suited for keyboards or instruments with on-board electronics. This input can also be used to monitor playback when comparing phase adjustments. The use of transformers greatly reduces grounding issues when using unbalanced equipment, however a ground lift switch is available on the front panel if ground loops cannot otherwise be avoided. A thru output is also provided on the front faceplate enabling a buffered and unbalanced unity gain signal to be sent to an external amplifier.
 
Phase Adjust
Acoustically derived signals from a microphone can never be exactly phase-coherent when combining signals from a stringed instrument pickup or an electronic keyboard. When the loudspeaker of a guitar amplifier is used with a microphone, further phase inconsistencies arise. It is also commonplace to use both a direct signal and at least one microphone signal to capture the best essence of the instrument in addition to the desired level of ambience. The 5016 Variable Phase feature allows phase to be rotated over a very wide range. When combined with the Phase Reverse switch on the Microphone channel, very powerful control over musical instrument recording is available.
 
Microphone Amplifier Section
The microphone input is identical with the Portico 5012. It uses a balanced but not floating, transformer configuration. The microphone is presented with a very high input impedance that is protected with a Toroidal Common Mode Rejection Low Pass Filter to exclude frequencies above 150 kHz. The Microphone preamplifier thus uniquely permits a full +25 dBu input signal to be handled at unity gain without an input pad over the whole audio spectrum. The advantages of both an Electronically Balanced and true transformer input are obtained without the noise trade-off of the usual ýÿpadýÿ solution. When the Phantom voltage is switched off, the Microphone input serves as a very high quality line input with an impedance of 10,000 ohms.