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Rupert Neve Designs Portico II / Master Buss Processor

Compressor/Limiter
  • Rupert Neve Designs Portico II / Master Buss Processor
  • Rupert Neve Designs Portico II / Master Buss Processor
  • Rupert Neve Designs Portico II / Master Buss Processor
  • Rupert Neve Designs Portico II / Master Buss Processor
  • Rupert Neve Designs Portico II / Master Buss Processor
  • Rupert Neve Designs Portico II / Master Buss Processor
CHF 5389.45
Incl. VAT
The ultimate dynamics, tone, and stereo field control for your 2-buss.

Based around the high voltage, discrete and class-A signal paths made famous in the 5088 Mixer, the Portico II Master Buss Processor is a creative tool that redefines the boundaries and limitations of traditional 2-channel compression and limiting.

Description

  • Klassisches Design, weiterentwickelt

    Mit Eingangs- und Ausgangstransformatoren, die von Herrn Rupert Neve entworfen und implementiert wurden, lässt sich die Hochspannungs-72-V-Topologie des Master-Buss-Prozessors problemlos in praktisch jedes System integrieren. Darüber hinaus enthält der MBP durchgehend gerastete Potis in Mastering-Qualität, um seine revolutionären Dynamik-, Klang- und Stereofeld-Regler fein abzustimmen. Diese neue Topologie ist eine bedeutende Weiterentwicklung der klassischen Designs von Herrn Rupert Neve mit spürbaren Vorteilen in Bezug auf Headroom, Dynamikbereich, Verzerrung, Rauschen, Anstiegsrate, Bandbreite und Genauigkeit und bietet gleichzeitig die süße, musikalische Leistung, die Teil unzähliger Aufnahmen war.

  • Der Kompressor

    Die beiden Kompressor-Sektionen des MBP ermöglichen nahezu unbegrenzte Dynamikmöglichkeiten für Dual-Mono- oder Stereo-Quellen, mit Reglern für Ratio, Threshold, Attack, Release, Blend, Sidechain-HPF, Limit und Make-up-Gain. Wenn die Kompressorsektion aktiviert ist, kann sie sowohl im Feed-Forward- als auch im Feed-Back-Modus verwendet werden, um eine transparente „moderne“ Reaktion (Feed-Forward) oder eine weichere, musikalischere „Vintage“-Reaktion (Feedback) bereitzustellen. Der Peak-Modus ändert den Attack des Kompressors, um mit einer Reaktionszeit von ungefähr 0,1 ms auf Spitzentransienten zu reagieren. Wenn der Peak-Schalter deaktiviert ist, reagiert der Kompressor auf das RMS-Signal in Verbindung mit den Attack- und Release-Einstellungen.

  • Der Begrenzer

    Der MBP verfügt außerdem über einen äußerst vielseitigen, transparenten und musikalischen Limiter. Auf den ersten Blick mag man über die Einknopfbedienung spotten – dieser Limiter ist jedoch äußerst intelligent und weiß, wie er auf die verschiedenen Signale, die ihm präsentiert werden, angemessen reagiert. Hinter dieser revolutionären Leistung steckt unsere neue Adaptive Release-Technologie. Mit einer Mischung aus Release-Zeitkonstanten reagiert dieser Limiter gleichzeitig schnell auf transientes Material (wie das „Schnappen“ einer Snare-Drum) und langsam auf träge Signale (wie eine Bassgitarre). Diese Konfiguration ermöglicht es dem Limiter, einen Transienten zu erfassen und einen Moment später wieder loszulassen, während er gleichzeitig mit konstanteren Signalen langsamer und musikalischer umgeht. Auf diese Weise kann der Limiter des MBP eine viel aggressivere Begrenzung als normalerweise möglich bereitstellen, während der wesentliche Charakter der Musik erhalten bleibt und frei von Modulationsverzerrungen bleibt, die normalerweise bei einem schnell wirkenden Limiter zu finden sind. Darüber hinaus teilen sich die Limiter das gleiche diskrete Class-A-Gain-Modul und VCA mit den Kompressoren, sodass die Verwendung des Limiters nicht mehr Stufen einführt, die die Musik durchlaufen müsste.

  • Der Stereofeld-Editor

    Der Stereo-Field-Editor des MBP hebt traditionelle M-S-Techniken mit Breite, Tiefe und entsprechenden Bandpassfiltern auf neue Höhen. Der Breitenregler ermöglicht es dem Benutzer, die Breite eines Stereobilds (Breite/Mono) zu erhöhen oder zu verringern und die der Aufnahme innewohnende Atmosphäre einzustellen. Wenn der Breitenregler in Richtung Wide gedreht wird, wird der Anteil des Differenzmaterials verstärkt, was oft zu mehr Umgebungsmaterial und akzentuierten Stereohall führt. Umgekehrt wird das Stereofeld bei einer Monodrehung verkleinert, und wenn der linke und der rechte Kanal stark kohärent sind (d. h. beide Kanäle enthalten sehr ähnliches Material, das in Phase ist), wird dieser Monogehalt verstärkt. Der Tiefenregler passt die räumliche Positionierung von Elementen in der Klangbühne an. Mittig geschwenkte Elemente wie Soloinstrument oder Gesang können in einem Mix im Verhältnis zu unterstützenden Instrumenten nach vorne gebracht werden. In vielen Fällen können dieselben Elemente praktisch eliminiert werden, ohne das Musikbett zu beeinträchtigen. In Kombination verwendet, verändern die Tiefen- und Breitenregler effektiv die wahrgenommene Raumatmosphäre und -dimension. Zur Feinabstimmung des SFE gibt es einzelne Filter, die auswählen, welche Frequenzinformationen von den Breiten- und Tiefenschaltungen wieder eingeführt werden, und so jeden Effekt auf eine bestimmte Bandbreite maßschneidern. Durch Betätigen der SFE TO COMP-Taste können Mid- und Side-Signale jeweils an die beiden Kompressoren des MBP geroutet werden, sodass das Gerät im vollen M-S-Modus (im Gegensatz zum Standard-L-R-Betrieb) betrieben werden kann.

Though originally developed for mastering applications, the MBP quickly became a favorite of mix engineers, tracking engineers, and even FOH engineers.

From mixing bass-heavy EDM to a delicate master of a chamber ensemble, it has something to offer everyone – no matter the use or genre.

Threshold
This 31-detent potentiometer adjusts the level at which the compressor begins to attenuate the signal and is fully variable within a signal level range of +20dBu to -30 dBu. If the compressor input signal level exceeds the set threshold level, compression will occur.

Ratio
This 31-detent potentiometer adjusts the compressor slope between 1:1 to 40:1.

Blend
This 31-detent potentiometer adjusts the mix ratio of uncompressed (dry) signal with the compressed (wet) signal. When Blend is fully counter-clockwise (CCW), only the uncompressed signal is audible. When Blend is fully clockwise (CW), only the compressed signal is audible. Setting Blend anywhere between 0% and 100% achieves parallel compression.

Comp In
This illuminated push-button switch engages the compressor-limiter section on its respective channel. Engaging or disengaging the “Comp In” button never affects SILK status and will not affect SFE status unless SFE to COMP is engaged.

Bypass All
This illuminated push-button switch toggles the PIIMB’s hard-wire bypass on both channels.

FF/FB
This illuminated push-button switch toggles between two different compression modes: Feed Forward and Feed Back. The distinction between these two types of compression is that the side-chain detector of a feed-forward compressor is fed from the compressor input, before the gain control element, while the side-chain detector of a feed-back compressor is fed from the compressor output, after the gain control element.

Gain
This 31-detent potentiometer provides two different functions. When used with the compressor, the Gain control acts as standard Make-Up Gain, allowing the user to add gain to the compressed signal to match the bypassed signal level. When used in the context of the PIIMB limiter, the Gain control allows the user to set the desired “ceiling” of their mix (in dBu) with the “Limit” potentiometer. Once the Limit potentiometer is set to the desired maximum level, the user can increase the Gain until the average mix level hits the desired loudness. The Gain control will drive the level of the mix up to the set Limiter threshold, but will not exceed it.

Attack
This 31-detent potentiometer sets how quickly the compressor will attenuate to the input signal once it exceeds the set threshold. When set to its fastest setting (20 ms), the compressor can attenuate the leading edge of a transient, like the initial strike of a drum stick on a snare drum. By compressing the inital strike, the overall compression result will increase the emphasis of the snare’s decay or resonance. When set to slower attack settings, the compressor will ignore most of the initial transient and attenuate the drum’s decay instead, thereby increasing the emphasis of the drum stick hitting the snare drum.

Release
This 31-detent potentiometer adjusts how fast the compressor will return to unity gain after the signal level crosses below the threshold. Generally, slower release times will minimize compression artifacts, especially when combined with slower attack times. Faster release times can be utilized to maximize apparent loudness.

S/C 125 Hz
This illuminated push-button switch engages a 125Hz 12dB/octave Sallen Key High Pass Filter into the compressor-limiter side-chain. Removing low frequency information from the compressor-limiter side-chain detector can help to minimize compressor pumping and over-compression of the rhythmic dynamic information that tends to reside in the lower frequency range: kick drums, bass guitar, etc. This usually results in a smoother compression characteristic.

RMS / PEAK
This illuminated push-button switch modifies the compressor side-chain detection. The default detection response is RMS (Root Mean Square) averaged, which better mimics the way our ears perceive loudness. PEAK mode detection responds more directly to the incoming compressor audio signal, which can be used to prevent clipping and maximize overall loudness.

Link
The link control sums the side-chain information from both compressor-limiter channels, enabling Channel A’s controls as MASTER. While linked, both channels are directly controlled by Channel A’s controls.

Limit
This 31-detent potentiometer controls the threshold of the soft-clip limiter section. The limiter is disengaged until the user rotates the Limit potentiometer past the 3rd detent (+24dBu) from the fully clock-wise (OFF) position. As the user rotates the threshold control counter clock-wise, the limiter’s release time gradually increases. This creates a smoother dynamic response as the amount of limiting increases. The limiter side-chain features a compound timing network that allows the limiter to respond equally well to quick transient material as it does to less dynamic program material. The limiter can be utilized as a maximizer by setting the Limit potentiometer to the desired maximum level in dBu, then increasing the amount of Gain until the desired program loudness is achieved.

Depth (engaged / disengaged with the ‘Depth In’ switch)
This 31-detent potentiometer adjusts the overall level of the center (mid) information within the SFE’s M-S encoding. The MIN (fully CCW) position will de-emphasize the center information within the stereo image, whereas the MAX (fully CW) position will emphasize the center information. If the Depth control is at the 12 o’clock “0” position, no Depth pro- cessing will be audible.

Width (engaged / disengaged with the ‘Width In’ switch)
This 31-detent potentiometer adjusts the overall level of the side information within the SFE’s M-S encoding. The MIN (fully CCW) position will de-emphasize the side information within the stereo image, wheras the MAX (fully CW) posi- tion will emphasize the side information. If the Width control is at the 12 o’clock “0” position, no Width processing will be audible.

Depth EQ
This illuminated push-button switch engages the 4-position rotary switch that allows the user to select 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 engages the 4-position rotary switch that allows the user to select 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 push-button switch routes the Depth and Width information to Channel A and Channel B compressor paths, respectively, allowing the user to manipulate the dynamic content of the Mid and Side information. When engaged, the width and depth controls allow the user to blend the amount of compressed Mid and Side information that is mixed back into the audio path. While SFE to Comp is engaged, the stereo compressor is only available for SFE dynamic processing and is not operational within the main audio path.

Silk
This illuminated push-button switch toggles through the available SILK transformer harmonic saturation modes: OFF, RED, and BLUE. Red Silk has a high frequency emphasis associated with the transformer harmonics, while Blue Silk has a low frequency emphasis associated with the transformer harmonics.

Texture
This 31-detent potentiometer allows the user to adjust the amount of Silk transformer saturation added to the signal path when Silk Red or Blue modes are engaged.

Gain Reduction Meter
This 16 segment LED bar-graph meter indicates compressor-limiter gain reduction, indicated in dB. After 4 dB of attenuation, the LEDs turn to amber and after 8 dB, the LEDs turn red.

Output Meter
This 16-segment LED bar-graph meter indicates output level, indicated in dBu. The top-most red LED is calibrated to illuminate at +25dBu, corresponding to the maximum output level of the Master Buss Processor.

Side Chain Send/Return
External compressor side chain send and return on 2 x TRS jacks. The send is always active and normalled to the return. NOTE: If the send and return are connected to a patchbay, the send should be normalled or connected to the return by default, as the compressor will not trigger if the return has no signal.

Internal Universal Power Supply
EIC connection for world-wide AC power from 100-240V embedded in the 2U rack-mountable chassis.

Attributes

Product Dimensions
Depth 305mm
Width 483mm
Height 35mm
Product Details
Product Number 230946
Brand Rupert Neve Designs
Category Compressor/Limiter
Brand Category Rupert Neve Designs - Compressor/Limiter
Relevancy rank 38 of 64
Date August 2022
Dimension
Box Depth 310mm
Box Width 483mm
Box Height 127mm
Gross Weight 9.1kg

Properties

- Classic Design, Evolved
- Two compressor sections with limitless possibilities in dynamics for either dual mono or stereo sources
- Extremely versatile, transparent and musical limiter.
- The stereo field editor takes traditional M-S techniques to new heights with width, depth and corresponding bandpass filters

- Height: 35mm
- Width: 483mm
- Depth: 305mm

Specifications

- Frequency Response (Compressor and SFE Bypassed, Unloaded)
5 Hz to 100 kHz: +/- 0.5dB typical
- 120 kHz: -3dB typical
- Maximum Output Level (Compressor and SFE Bypassed, Unloaded)
- 20 Hz to 40 kHz: +25 dBu typical
- Total Harmonic Distortion and Noise
1 kHz, +20 dBu: Less than 0.003% typical
- 20Hz, +20 dBu: Less than 0.10% typical
- 20 kHz, +20 dBu output: Less than 0.010% typical
- COMPRESSOR
Threshold: -30 dBu to +20 dBu
- Ratio: 1.1:1 to 40:1
- Blend: 0% to 100% Compressor
- Gain: 0 dB to +20 dB
- Attack: 20 mS to 80 mS
- Release: 100 mS to 3.0 S
- AC Power Consumption
- 85 Watts Max
- Fuse
- 5 x 20mm Bussman type GDA 2.5A, Fast Acting, Ceramic
- Product Dimensions (H x W x D)
- 3.5” (8.9 cm), 19” (48.3 cm), 12” (30.5 cm)
- Shipping Dimensions (H x W x D)
- 5” (12.7 cm), 23” (58.5 cm), 12” (31 cm)
- Shipping Weight
- 20 lbs (9.1 kg)

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