| Content | The Rupert Neve Designs Portico II Master Bus Processor lets you enhance, reshape, and polish your sound to perfection. Whether you want to add finishing touches to your master bus, level out a stereo group, or add new life to mono sound sources, the Portico II Master Bus Processor gives you the compression, limiting, and stereo field manipulation you need. Featuring custom input and output transformers designed by Rupert Neve, the Portico II Master Bus Processor implements the same ultra-smooth Class A signal processing made famous by the 5088 console and the Portico II Channel, as well as 72V topology, which gives it enormous headroom while allowing it to integrate seamlessly with virtually any system. If you’re serious about your sound, then it’s time to ask your Sales Engineer about the Rupert Neve Designs Portico II Master Bus Processor!
Powerful and flexible compression
Both channels of the Portico II Master Bus Processor feature one of Rupert Neve Designs’ most versatile compressors to date. Whether you want to add punch to your mix or smooth out your vocal subgroup, the Portico II Master Bus Processor has the compression you need. Controls for ratio, threshold, attack, release, blend, sidechain highpass filter, limiting, and makeup gain let you dial in the perfect dynamics quickly and easily. Use the two compressors independently, or instantly link them with the push of a button. Variable Silk Red/Blue Texture controls let you add classic Neve harmonic warmth; while a blend control lets you dial in the dry signal for instant parallel processing, so you can get all of the compression you want without losing transients. In addition, the Portico II Master Bus Processor gives you a choice of either vintage-flavored feed-back or modern-sounding feed-forward compression modes.
Transparent, musical limiter that’s effortless to use
Often overlooked at first glance, the Portico II Master Bus Processor’s 1-knob limiter is a powerful, flexible, and remarkably easy-to-use tool that lets you get the most out of the Portico II Master Bus Processor’s compression section. Rupert Neve Designs’ Adaptive Release Technology gives this limiter its unique ability to grab onto fast transients, without smothering the rest of the signal. Plus, you have the option to blend compressed and dry signals together for parallel processing that maintains natural-sounding dynamics without clipping. This gracious behavior means you can set it and forget it, with the added security of knowing your masters will be free from clipping and broadcast-ready.
Sidechain inserts for creative ducking
Every dynamics processor has a sidechain circuit that examines the signal and determines how much the VCA will reduce gain — but not every unit provides access to its sidechain. In compressors without a separate sidechain input, your main input signal is, essentially, compressing itself. With compressors like the one in the RND Portico II Master Bus Processor, you can insert external processing on the sidechain — or introduce a different signal that determines the compression action on the main signal. It’s an incredibly useful feature that lets you, for instance, automatically duck a track to make space for another (very popular for that EDM mix pumping effect). Combined with the sidechain HP filter, it gives you an impressive amount of tonal versatility.
Amazing Stereo Field Editor
Although the Rupert Neve Designs Portico II Master Bus Processor functions wonderfully as a dual-mono processor, it really shines in stereo mode. That’s thanks to its unique Stereo Field Editor. The Stereo Field Editor uses advanced Mid/Side stereo manipulation techniques, allowing you to adjust your stereo bus’s width, depth, and ambience. Beyond widening your stereo image, the Portico II Master Bus Processor can actually bring center-panned instruments out in your mix. That makes the Portico II Master Bus Processor an invaluable tool for mastering, as well as defining the spread of your subgroups during mixdown.
The legend continues
Rupert Neve’s 80 Series consoles had a huge, punchy, and authoritative sound that defined the sound of ’70s rock. From London to New York to Los Angeles and beyond, top studios were installing Neve boards as fast as they could. By 1977, with the introduction of the NECAM automation system, 80 Series boards were the main component of the success formula for any recording studio with world-class aspirations. Mr. Neve’s current company, Rupert Neve Designs, continues to advance the state of the art with cutting-edge products that sound incredible and intelligently address the challenges of the digital age. With your Rupert Neve Designs Portico II Master Bus Processor from Sweetwater, the legend continues.
Rupert Neve Designs Portico II Master Bus Processor Features:
- Powerful 2-channel compressor/limiter/stereo field manipulator
- Custom input and output transformers designed by Rupert Neve
- Full compression sections for both channels, including attack, release, ratio, and threshold controls
- Sidechain inserts and highpass filters for both compressors
- Feed-back/Feed-forward switch lets you select between vintage-style and modern compression modes
- Silk Texture control with Red/Blue modes for classic Neve harmonic warmth
- Blend controls allow you to mix dry signal back into your compression, preserving transients while adding punch
- Simple and highly musical 1-knob limiter with Adaptive Release Technology allows for brickwall limiting that doesn’t distort or affect signal under the threshold
- Stereo Field Editor section includes independent level and EQ for width and depth, allowing you to dial in the perfect stereo field
| The vintage EQ tones you know & love.
The 551 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.
The “Best-Of” EQ
The 551’s 3-band, custom-tapped inductor EQ was inspired by our favorite elements of Rupert’s vintage EQ designs. The low frequency band is designed to produce a creamy, resonant bass response similar to a vintage 1064 – but unlike the vintage modules, 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 midrange band is based on that of the 1073, 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 with Rupert’s 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 50 years ago, and is definitely not a “clone”.
What Are Inductors?
Inductors are 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. This is what makes them different from capacitor-based EQ designs, which do a great job at surgical equalization. But inductors provide the tone.
While it is certainly possible to create a functioning EQ using off-the-shelf inductors, we choose to use our own custom inductors for the 551. This attention to detail in controlling variables such as the winding and core materials in relation to the surrounding circuitry allows the 551 to capture the vitality and personality of Rupert’s classic designs.
NOISE
- Measured at Main Output, un-weighted, 22Hz-22kHz, source impedance 40 Ohm balanced.
- Better than -102 dBV
FREQUENCY RESPONSE
Main output, no load: +/- 0.1 dBu from 20 Hz to 31.5 kHz, -1 dB @ 120 kHz
MAXIMUM OUTPUT LEVEL
23.25 dBu
TOTAL HARMONIC DISTORTION AND NOISE
- @ 1 kHz, +20 dBu output level, no load: Better than 0.0025%
- @ 20 Hz, +20 dBu output level, no load: 0.13% Typical (2nd and 3rd harmonic)
HIGH PASS FILTER
- -2.7 dB @ 80 Hz
- Slope: 12 dB/Octave
NOISE
- Measured at Main Output, un-weighted, 22 Hz - 22 kHz, source impedance 40 Ohm balanced.
- Better than -94 dBV
FREQUENCY RESPONSE
Main output, no load: +/- 0.25 dBu from 20 Hz to 45 kHz, -2 dB @ 120 kHz
MAXIMUM OUTPUT LEVEL
23 dBu
TOTAL HARMONIC DISTORTION AND NOISE
- @ 1 kHz, +20 dBu output level, no load: Better than 0.009%
- @ 20 Hz, +20 dBu output level, no load: 0.13% Typical (2nd and 3rd harmonic)
POWER REQUIREMENTS
- 120mA on +16VDC
- 110ma on -16VD
| Discover the PM7000N, the first Marantz fully discrete, current feedback integrated Hi-Fi amplifier with HEOS Built-in technology. The ideal choice for audiophiles that require Marantz musical sound and music streaming, the PM700N includes high-grade audio components, current feedback HDAMs, a toroidal transformer, and a high-speed instantaneous current power supply. The versatile PM7000N features multiple analog and digital inputs, and decodes digital audio files ALAC, FLAC and WAV lossless files up to 24-bit/192-kHz — plus, DSD 2.8MHz and 5.6MHz tracks for high-resolution listening. Stream your favorite music wirelessly, and control the amplifier with leading voice agents Apple Siri, Google Assistant, and Amazon Alexa.
Features
- Power to suit your audio preference: 2ch fully discrete current feedback integrated Hi-Fi amplifier; 60W per channel (8-ohm, 20Hz – 20kHz)
- Wide range of connectivity:
- Four analog inputs, one analog output, one coaxial input, two optical digital inputs and one USB-A for high-resolution audio files
- Marantz proprietary HDAM-SA3 circuit: Wider dynamic range with lower distortion for the output stage
- Flexibility for all configurations: Tone control to tune sound to your exact specifications and dedicated subwoofer output for evenly dispersed bass, no audible peaks or dips
- Newly designed electric volume circuit: Use the latest volume control IC to realize better channel separation, dynamic range, and distortion-reduction
- Play vinyl with exceptional clarity: Integrated phono input with newly designed FET input stage to improve signal purity and sound
- Premium Marantz SPKT-1+ speaker terminals: Improved connection to speakers
- Stream music from your favorite sources: Play songs from TuneIn, Internet Radio, Pandora, Spotify, SiriusXM, Amazon Prime Music, TIDAL and more via AirPlay 2, Bluetooth and the HEOS app (music streaming services may vary by region)
- Speak your commands: Supports Amazon Alexa, Google Assistant and Apple Siri voice agents for seamless voice control
- High-performance, high-resolution audio playback: Ability to decode high-resolution audio ALAC, FLAC and WAV lossless files up to 24-bit/192-kHz — plus, DSD 2.8MHz and 5.6MHz tracks for high-resolution listening
- Built-in Bluetooth and Wi-Fi with 2.4GHz/5GHz dual band support: Improved network stability even in Wi-Fi crowded homes
- Works with your TV remote: Program the PM7000N to work with your TV remote and easily adjust volume up, volume down, mute and source selection
Specifications
Inputs: RCA line x 3, RCA MM phono x 1, digital coax x 1, optical x 2, USB A x 1, Ethernet
Phono input sensitivity: 2 mV @ 47 kOhm
Phono SNR: 87 dB
Outputs: Tape out, subwoofer out, headphone out, speaker A and B
Power output (8 ohm / 4 ohm): 60 W / 80 W
Damping factor: 100 and over
Dimensions: 17.3" x 14.9" x 4.9"
Weight: 23.8 lb
| Whether you’re tracking, mixing, or just listening to music, your headphone amplifier is as important to the final sound quality as your headphones – yet the world is full of headphone amps with compromised sonics, headroom, and power. To address these shortcomings, Rupert and his team at Rupert Neve Designs developed the RNHP.
Based on the headphone output circuit in the 5060 Centerpiece Desktop Mixer, the RNHP is a dedicated 24V reference-quality headphone amplifier with +4dBu balanced line, unbalanced RCA and 3.5mm (1/8”) inputs – each specifically calibrated for optimum level and impedance – and housed in a rugged, VESA-mountable steel chassis.
Dedicated vs Integrated Amplifiers
For much equipment, the headphone output is an afterthought. Most products with integrated headphone amps have large feature sets, small footprints, and relatively low price points. This leads to compromised power and audio quality of the headphone amplifier itself, which can lead to a number of issues in real world usage such as low headroom, unreliable performance, and a lack of focus.
The RNHP was made to accomplish one simple purpose: making any headphones sound their best. As a dedicated design, the RNHP is tailored to deliver extremely high quality, powerful amplification, with precise calibration for any source input. This exceptional level of quality can be the difference that inspires an artist to give their best performance, lets an engineer make better choices in mic and placement, gives a mix engineer reliable translation of EQ and dynamics adjustments, or lets a music listener appreciate the full depth and detail of a recording.
MAXIMUM INPUT LEVELS
- “A” XLR I/P: +22.8 dBu @ 1 kHz
- “B” RCA I/P: +14.7 dBu @ 1 kHz,
- “C” 3.5mm I/P: +3.3 dBu @ 1 kHz
OUTPUT POWER
- As measured with typical headphones, Z=44 Ohm: 3.617 VAC RMS @ 1 kHz = 300mW RMS.
- 16 Ohm typical Load: 1.933 VAC RMS @ 1 kHz = 230mW RMS
- 150 Ohm typical Load: 5.108 VAC RMS @ 1 kHz = 175mW RMS
OUTPUT IMPEDANCE
.08 Ohm @ 1 kHz, 16-150 Ohm load, 0 dBu input
FREQUENCY RESPONSE
+/- .2 dB from 10 Hz to 120 kHz
NOISE
- Measured with typical headphones, Z = 44 Ohm, BW 22 Hz - 22 kHz.
- “A” XLR Input: -101.9 dBV,
- “B” RCA Input: -100.9 dBV
- “C” 3.5mm Input: -88.8 dBV
DIMENSIONS
6.5” wide x 4.6” deep and 1.9” tall
POWER SUPPLY REQUIREMENTS
24VDC @ 0.25Amp (6 watt) minimum. Use with supplied power adapter, as this has been carefully selected for best output power and noise performance. May be used with a properly configured 24V battery as well. |
The M5si is a sensational integrated amplifier with exceptional power and clarity.
The M5si is a real high end amplifier. At 150wpc, with high current delivery, it will drive virtually any loudspeaker easily.
Internally the M5si is configured as two independent monoblocs with a separate preamp, but all mounted on one pcb. Its technical performance is about equal to the M6si.
The M5si In Brief
- 150wpc
- Excellent technical performance
- Preamp output
- Unconditional stability, will drive any loudspeaker
- Wide range of useful inputs including asynchronous USB and MM phono
- Excellent hunky build quality
Specifications
Power output: 150 W per channel into 8 ohm
Signal to Noise Ratio: >100 dB ‘A’ - weighted
Frequency Response: +0, –0.1 dB, 10 Hz to 20 kHz
Inputs: 4x Line Level RCA, 1x USB type ‘B’ connector - asynchronous data stream at up to 24-bit/96kHz, 1 x MM phono input, Trigger in
Phono
Sensitivity: 3 mV nominal (MM)
Signal / noise ratio: >70 dB ‘A’-weighted
Input impedance: 50 k ohm (MM)
Frequency response: RIAA/IEC ±0.5 dB 20 Hz-20 kHz
Outputs: Trigger out, Fixed, line level output, Variable, preamp output
Dimensions - WxHxD (mm): 440 x 100 x 405
Weight (unpacked / packed): 14.6 kg/ 18.8 kg
| The Shelford Channel is built around Rupert Neve’s first new transformer-gain, class-A microphone preamplifier in over 40 years, a “best-of-the-classics” inductor EQ section, a tone-packed diode bridge compressor, the power of variable Silk saturation, a new dual-tap transformer output stage, and twice the operating voltage of vintage designs.
The Input Stage and Transformer Gain Mic Pre
Like Rupert’s designs from his time in Little Shelford , the Shelford Channel’s preamplifier uses a directly-coupled transformer input with gain provided by the custom transformer itself – a first in over 40 years for Rupert Neve. This new custom-designed input transformer, along with its careful integration with the surrounding class-A circuitry, is critical to the Channel’s bold and instantly recognizable character.
Conveniently, the Direct Input uses the same topology as the best-selling RNDI Active Transformer Direct Interface, providing astonishing clarity for high-Z instrument signals, with unparalleled low-frequency response and an incredibly smooth high end.
What is Silk?
The Silk & Texture circuit on the Shelford Channel allows you to fine-tune the amount (and type) of harmonic content in the output stage. This means your signal can be adjusted from quite transparent to settings that produce nearly 10x the amount of sonic color as Rupert’s vintage modules – and in two very unique modes. No matter what sound you’re looking for, Silk can help get you there.
The Dual Tap Transformer Output
Complementing the Silk circuit is the custom-designed output transformer, which uses Rupert Neve Designs’ unique dual-tap output topology. This offers both full-headroom (+26dBu) and -6dB outputs, allowing the engineer to drive the unit fully into classic transformer saturation without clipping converters and other devices later in the chain.
The “Best-Of” EQ
The Shelford Channel’s 3-band, custom-tapped inductor EQ was inspired by our favorite elements of Rupert’s vintage EQ designs. The low frequency band is designed to produce a creamy, resonant bass response similar to a vintage 1064 – but unlike the vintage modules, the LF band on the Shelford Channel can be used as either a shelf or a peak filter, adding punch, dimension, and control to your low end.
The midrange band is based on that of the 1073, 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, with the shelf / peak corner switchable between 8K or 16K.
The Diode Bridge Compressor
Like the Inductor EQ and Transformer Gain microphone preamp, the Diode Bridge Compressor in the Shelford Channel is based on the same topologies found in Rupert’s vintage designs – but refined & adapted for the modern engineer.
What is diode bridge compression? Where the VCA compressor found in the 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.
By understanding the limitations of vintage units like the legendary 2254, painstaking effort was taken to reproduce the unique tone of these classics while improving the noise floor & accuracy, expanding inflexible time constants, adding full wave sidechain detection for improved dynamic response, and widening the range of threshold and ratio controls.
Delivering the powerful sound of these iconic designs with enhanced flexibility for the modern age, the Shelford’s diode bridge compressor is a dynamic tool equipped to make a statement on virtually any mix or track.
MIC PREAMP
INPUT IMPEDANCE
2200 Ohm
MAXIMUM INPUT
- +21.5 dBu from 150 Hz to 22 kHz
- +8 dBu 20 Hz to 22 kHz
NOISE
- Un-weighted, 22 Hz-22 kHz, source impedance 150 Ohm balanced.
- Main Out @ unity gain -100.9 dBu
- -6 dB Out @ unity gain -106.6 dBu
- +30 dB gain (Main Out) -91.37 dBu
- +66 dB Gain (Main Out) -64.1 dBu
- Equivalent Input Noise -121.37 dBu
FREQUENCY RESPONSE
+/-0.25 dB from 17 Hz to 45 kHz
DIRECT INPUT
MAXIMUM INPUT
8 dBu @ 20 Hz to 120 kHz
NOISE (MAIN OUTPUT)
-100 dBu (22 Hz to 22 kHz)
LINE INPUT
MAXIMUM INPUT LEVEL
+30.5 dBu 20 Hz to 30 kHz
TOTAL HARMONIC DISTORTION AND NOISE
- @ 1 kHz, +20 dBu output level, no load: Better than 0.002%
- @ 20 Hz, +20 dBu output level, no load: 0.05% Typical (2nd and 3rd harmonic)
NOISE (MAIN OUTPUT)
Un-weighted, 22 Hz - 22 kHz, source impedance 40 Ohm balanced, no load.
-101.1 dBu
FREQUENCY RESPONSE
+/- 0.25 dBu from less than 10 Hz to 110 kHz
-0.32 dB @ 120 kHz
MAXIMUM OUTPUT LEVEL
+26 dBu @ 16 Hz to 20 kHz
TOTAL HARMONIC DISTORTION AND NOISE WITH SILK ENGAGED
RED
- MIN TEXTURE @ 100 Hz, +20 dBu input level, no load: 0.0131%, mostly 3rd harmonic (typical)
- MAX TEXTURE @ 100 Hz, +20 dBu input level, no load: 1.66%, mostly 2rd harmonic (typical)
BLUE
- MIN TEXTURE @ 100Hz, +20 dBu input level, no load: 0.0079%, mostly 3rd harmonic (typical)
- MAX TEXTURE @ 100Hz, +20 dBu input level, no load: 0.941%, mostly 2rd harmonic (typical)
HIGH PASS FILTER
- Continuously variable swept frequency from 20 Hz to 250 Hz.
- Slope: 12 dB/Octave
EQ NOISE
Un-weighted, 22 Hz-22 kHz: -92 dBu
SIGNAL PRESENT
Illuminates GREEN when input stage signal level reaches -20 dBu
OVERLOAD INDICATOR
Illuminates RED when input stage signal level reaches -23 dBu
DIODE BRIDGE COMPRESSOR
- NOISE (BW 22 Hz – 22 kHz)
- 0 dB Makeup Gain: -84.5 dBu
- +20 dB Makeup Gain: -64.2 dBu
TIME CONSTANTS
- Measurements taken represent full range achievable between 1.5:1 Ratio and 8:1 Ratio setting.
- 0 dBu I/P 1kHz Burst Tone used for all recorded measurements.
- Fast (TC1): Attack 180µS — 1.8mS // Release 100mS – 150mS
- MedFast (TC2): Attack 750µS – 5.25mS // Release 160mS – 250mS
- Med (TC3): 2.7mS – 18mS // Release 350mS – 525mS
- MedSlow (TC4): 4.6mS – 38mS // Release 600mS – 1 S
- Slow (TC5): 11mS – 72.5mS // Release 800mS – 1.25 S
- Auto (TC6): 5.75mS – 35.5mS // Release T1 400mS – 850mS, T2 TBD
- “Fast” Mode Multiplier: Modifies aforementioned TC’s by 70% of original value
PRODUCT DIMENSIONS
19” (48.3 cm) x 10.5” (26.7 cm) x 1.75” (4.4 cm) |
Reviews
There are no reviews yet.