Portico 5014 User manual

'\
RUPERT
NEVE
Designs
Portico 5014
STEREO FIELD EDITOR
Serial No:
IMPORTANT
For your convenience, write your serial number on the box above and
keep this guide in asafe place. The number can be found on the bottom
of the product and also on the packaging materials.
This number must be quoted in all communications in order to obtain
technical support and spare parts from either the factory or your dealer.

INTRODUCTION
Thank you for your purchase of the Portico™ 5014 Stereo Field Editor. Everyone at Rupert Neve
Designs hopes you enjoy using this tool as much as we have enjoyed designing and building it.
Please take note of the following list of safety concerns and power requirements before the use of
this or any Portico™ Series product.
SAFETY
It's Usual to provide alist of "do's and don'ts" under this heading but mostly these amount to
common sense issues. However, here are some reminders:
•The Portico™ 5014 dissipates about 12 watts, which means it will get warm in use. The heat
generated is radiated through the casework and by convection through the ventilation holes on the
sides. Therefore, the holes should not be covered or blocked. Portico™ modules may be stacked
horizontally on adesktop or mounted vertically in arack without heat problems. The anti-slip feet
may be removed while used in arack, but should be retained for desktop use. To avoid overheating
Portico™ modules should not be stacked immediately above or adjacent to other equipment that
gets hot. Also bear in mind that other equipment may radiate strong hum fields, which could spoil
the performance of your Portico™ module.
•Don't operate your Portico™ module in or around water! Electronic equipment and liquids are
not good friends. If any liquid is spilled such as soda, coffee, alcoholic or other drink, the sugars
and acids will have avery detrimental effect. Sugar crystals act like little rectifiers and can produce
noise (crackles, etc.). SWITCH OFF IMMEDIATELY! Once current starts to flow, the mixture can
get very hot and harden like burnt toffee, causing permanent and costly damage. Please contact
support as soon as possible at [email protected] for resolution.
•Don't operate aPortico™ in the rain! If it gets wet, and you suspect that good clean water may
have gotten in, immediately unplug the unit, and remove it from the source of water. Take the cover
off by removing the knobs and the two back-most screws on both sides. The cover and front panel
will now slide forward and free from the unit. Gently wipe off any water that's visible with asoft
cloth. Water may have percolated under the Printed Circuit Board and be hidden between it and the
bottom cover. Ahair drier can be used with care to blow and dry out any residual moisture. Leave
the unit for afew hours to completely dry out. If the moisture was due to CLEAN water, your
Portico should be up and running with no further problems.
•Don't be tempted to operate aPortico™ with the cover removed. The cover provides magnetic
screening from hum and R.F. stray fields.
POWER REQUIREMENTS
Every Portico™5014 module is fitted internally with afully shielded and sealed DC to DC
converter that provides the pristine isolated and filtered balanced DC voltages required for the
discrete amplifiers. The meticulous audio quality of your Portico™ is protected by the internal
converter that screens and protects the internal circuits from outside interference, allowing
Portico™ modules to be fed from any external DC supply between 9and 18 volts that is reasonably
"clean." The Portico™ DC input is protected from reverse polarity. The DC power unit normally
provided with the 5014 is ahigh quality, robust, and very reliable switched mode supply that will
work from almost any of the very wide range of mains supply voltages and frequencies that are
found world-wide. Other than meeting the requirement for high quality and the regulatory specs for
this class of equipment, there are no special constraints for the Portico™power units.
1

INTRODUCTION
When feeding multiple units, obviously they should be capable of providing enough current for the
number of Portico™ modules in use.
The great advantage of this system is that there are no common DC supply rails that could
share signals with other modules and potentially cause crosstalk.
Portico™ power units leave the factory with standard US plugs. If required, any suitable
connecting cord may be substituted. Avoid using amains power outlet that is on the same circuit as
air conditioning or other equipment that regularly switches on and off. It is common sense to
unplug your Portico™ power unit during athunder storm or if it will be unused for along period.
Portico™ modules can alternately be powered from a12-volt battery, in which case the supplied
AC power unit is not needed. When using a12-volt battery, choose one that has enough capacity to
power your Portico™ 5014 -or your complete assembly of Portico™ modules -for the expected
duration of your session.
The Rupert Neve Designs 5014
Stereo Field Editor
The Stereo Field Editor is anew tool that draws out and enables the engineer to make full use of the
embedded sound field, latent in agood studio or concert hall. As its name suggests, the module
depends upon connection to apair of input channels that carry traditional Left and Right Stereo
information. Sound images depend upon differences of level and phase between the two channels
that are often very small indeed.
CONTROLS
Each Channel is provided with the following front panel controls :-
LINE or BUSS
An Illuminated Push-Button selects between the rear XLRF (Line) and TRS (Buss) Input
Sources.
PHASE An Illuminated Push-Button inverts the phase of the input signal by 180 degrees.
LEVEL Apair of rotary controls provide an input gain range for each channel of +12 to -6dB.
WIDTH The Width Push-Button activates the "Mono" -"Wide" knob and enables INSERT,
DEPTH and EQ circuits (I.e. all the other features in the section).
As such, WIDTHbecomes the key that enables these secondary controls.
2

DESCRIPTION
"Mono" /"Wide" Knob
When the "Mono" /"Wide" knob is rotated to "WIDE", the amount of difference material
present in the Left and Right inputs is differentiated, and either amplified or attenuated
then mixed back into the Left and Right output circuits respectively.
Adding ambience or non-coherent reverberation to the sound field (rotating towards
"WIDE") increases warmth and the apparent size of astudio or concert location. In an
open air or non-reverberant situation background sounds and effects are increased.
Conversely, when rotated to "mono", the stereo field is reduced.
If the LEFT and RIGHT input channels contain ahigh content of coherent or mono
material or are actually aMONO source, there is nothing to separate. When the left ad
right inputs are added together and mixed back into the left and right outputs, the
respective output levels are simply increased. The Left and Right output levels may
increase by up to 6dB.
If one of the INPUT channels is phase reversed, the mono content of the program can be virtually
nulled out by turning the WIDTH control to the extreme counter-clockwise limit
!
NOTE: If the program material is recorded in Mono format there will be no sonic
difference when the WIDTH button is pressed and the "Mono" /"Wide" knob is rotated
back and forth between extremes. (This is aguaranteed way to find out if the program
material is actually Stereo or Mono)
DEPTH Depth is operational when the WIDTH and DEPTH Push-Button are engaged. This
moves the perceptual Mono image closer or further away. Used with WIDTH, the
perceived ambience, room and distance of arecording stage can be controlled by
introducing variable amounts of phase shift into the difference circuit.
INSERT
The INSERT Push-Button sends the difference circuit to balanced send and return TRS
points on the rear panel. This enables an external Equalizer or Dynamics unit to be
inserted providing further editing of the apparent Depth.
EQ IN
In addition to the INSERT circuit, asemi-parametric EQUALIZER is provided, having a
frequency range of 120 to 2.4Khz, +and -15dB gain, and two "Q" settings; "High" and
"Low"
METERS
8segment LED bar-graph meters are provided for separate left and right level
monitoring.
3

DISCUSSION NOTES
PRACTICAL USES
The first key feature of the 5014 is its width control, which enables the user to add to or reduce the
width of astereo image (wide/mono) and adjust the level of ambience inherent in the recording.
For instance, adrum buss that needs to be tightened up can easily be processed with the width
circuit towards mono, or abackground vocal buss that is smothering alead vocal can be opened up
to let the center material breathe.
The depth control of the 5014 adjusts the spatial positioning of elements in the sound stage. Alead
instrument or vocal can be placed up front in amix and supporting instruments can be pushed back
and adjust the placement of elements on the sound stage. In many cases, acenter panned vocalist
can be placed forward in amix or virtually eliminated without adversely affecting the music matrix.
The difference channel insert and EQ creates new opportunities to manipulate stereo signals. In
mastering use, lead vocals can be brought up or down in amix, excessively sibilant overheads can
be controlled, and mixes that were once beyond repair can be saved. As acreative tool the
difference channel insert on the 5014 are only limited by the users creativity.
DISSERTATION ON STEREO PROCESSING
WIDTH
It is possible to insert filters, extra reverb, compressors, expanders etc. into the DIFFERENCE
path and get some amazing sounds. PHASE differences can also be enhanced.
Things of this type are essential, in my view to enhance digital recordings so they "sound" better.
One of the failings of DIGITAL is that it does not give you enough DIFFERENCE information
even to localize and place ordinary stereo sources. We can make them appear to do agreat deal
more than they do.
MONO
Where there is no difference between the two channels, there is nothing for the WIDTH control to
work with. When Left and Right channels are combined at the 5014 output, the image produced is
apparently 6dB greater due to adding two identical (or near identical) levels from the two
loudspeakers acoustically.
When the two microphones in the studio are receiving two signals that are quite different in
content, due to non-phase coherent reverberation or placement of instruments, our differentiating
circuit amplifies -or, in some cases, reduces -those differences. Adding them back into the Left
and Right outputs now brings in more of the "big picture".
The way in which the difference signals are combined into the output circuits is governed by the
DEPTH control and gives an even greater perspective to the sound picture.
4

Differentiating stereo signals in this way, whether from microphones or from already recorded
sources, is similar to the AB -MS coding traditionally used extensively in the recording studio.
It's important to realize that there is abig difference between stereo and panned mono:- Identical
signals coming from 2speakers produce an exact virtual image between the speakers. Non-
identical signals don't although the signals may be similar. Soloists are often captured on asingle
mono microphone and panned center. This is how it is possible to reverse the phase of one of the
input channels and literally null out a soloist!
If the soloist in the Studio moves, the relative signals change in amplitude and phase causing the
image to move also. AStereo signal also contains ambience information which locates the soloist
relative to his surroundings. With panned Mono, the ambience is fixed by the simple ratio of direct
to ambient sound produced by the microphone/soloist positions. Panning cannot change this
relationship.
Try this to establish whether asignal is real Stereo or Panned Mono: Set up your recording on a
pair of monitor speakers and listen to see if there is a"Sweet Spot" for the soloist either at the
Centre or at adefinite point off Centre. During the mix, the soloist is likely to have been
positioned by the Pan Pot.
As you move between the two speakers you will hear this "Sweet Spot" where the two signals have
added coherently to produce the familiar forward image. If the soloist has been recorded on a
genuine Stereo pair, there will be no such obvious "Sweet Spot" but he/she will retain the
perspective produced by their Studio position relative to the Stereo Microphone pair.
STEREO
POWER REQUIREMENTS
Voltage Range 9to 18 Volts DC, 12 Watts
Current Consumption: @9VDC= 1.25 Atypical
@12VDC =1000 mAtypical
@15VDC= 780 mAtypical
@18VDC= 643 mAtypical
Connector: 5.5mm X2.5mm DCjack, Center Positive
5

FRONT/BACK PANEL
5014 Stereo Field Editor -Front Panel
Width Engage
Activates width circuit
Meter Source Select Must be engaged to make
Selects the meter to be derived all otherfeatures active
from the input (up) or output (down)
Width Control
Control the stereo image
From Mono to Wide
Depth Control
Move center panned
images forward or
backard in the mix
Depth Engage
Insert
Engages Difference
Send/Return
fLEFT ™s RIGHT
-OUTPUT |
-1°
|
-6
|
-Z
| |
4
|
10
|
16
|
22
|
o
Phase
Flip Phase
180 degrees
Difference EQ
Engages equalizer accessible
to Difference channel only
Input Trim L/R Buss IN
Adjust input -6/+12dB Select the Buss Inputs
for level matching to mix all engaged units
in group
YAdjust between
Wide (up) and
Narrow (down) "Q"
Frequency /Level
Control center frequency
(120Hz-2.4kHz)
and Level (+/-15dB)
5014 Stereo Field Editor -Back Panel
Power Switch
Disconnects supply Insert
from internal Send and Return
power converters The Difference channel
Input
Transformer Fully Balanced Input
l=GND2 =HOT 3=COLD
o5014
If
o
"o o
12VDC SEND LEFT BUSS
moo o
POWER RETURN RIGHT BUSS OUTPUT OUTPUT INPUT
I
Output
Transformer coupled
Fully balanced and floating
1=GND 2=HOT 3=COLD
DC input jack
2.1 x5.5 x9.5mm
Center Positive
Portico™ Bussing System
Connect as many units together as you'd
like to create your own mixes using these
bussing inputs as their destination
6

SIGNAL FLOW
7

SPECIFICATIONS
Portico 5014-Stereo Field Editor
GAIN: Each channel independently variable from -6 dB to +12 dB.
MAXIMUM OUTPUT LEVEL:Balanced and Floating Transformer Output +25 dBu.
INPUTS (XLR):
WIDTH:
DEPTH:
EQ IN:
Q:
Input Impedance: >1 OK Ohms Transformer balanced and Floating.
Pressing this button engages the Width control and activates any
other pushbuttons associated with it (i.e. Depth, EQ, Insert and Q).
Engages DEPTH control.
Inserts equalization into the difference channel only (post Send/Return). The
internal EQ provides up to 15 dB of boost or cut and continuously variable
from 120 Hz to 2.4 kHz.
Selects either wide or narrow EQ effect.
The Q, EQ IN, and DEPTH pushbutton will only be illuminated and activated when the WIDTH button
is also engaged. Disengaging the WIDTH automatically disengages the EQ, DEPTH, and INSERT
circuitry.
METERS: LEFT and RIGHT channel meters are simultaneously monitored via asingle
pushbutton toggling between both INPUT (internal post-gain trim) and
OUTPUT levels.
L/R BUSS IN:
TOTAL HARMONIC
DISTORTION AND NOISE:
NOISE:
Selects rear left and right XLR line level inputs or Va" Buss Input jacks to
accept all Portico series Buss Outputs.
@2kHz, +20 dBu output level, unity gain.
Main Output, Width bypassed: Better than 0. 00 15%.
Main Output, Width engaged: Better than 0.0015%.
Measured at Main Output, un-weighted, 22Hz-22 kHz,
Terminated 40 Ohms.
With Gain at Unity, Width disengaged:
With Gain at Unity, Width engaged:
Better than -100 dBu.
Better than -96 dBu.
FREQUENCY RESPONSE: Main Output, Unity Gain @18 Hz,
@150 kHz -3dB.
-3dB.
CROSSTALK:
INSERT:
Measured Channel to Channel
Width disengaged: Better than -90 dB ®16 kHz.
The Insert is only active within the WIDTH circuit when it is engaged. The
SEND carries the Left-Right difference information only (pre-EQ). Return is
half-normaled.
TOTAL HARMONIC
DISTORTION AND NOISE: )2kHz, +20 dBu output level Better than 0.0015%
FREQUENCY RESPONSE:
SEND Main Output, Unity Gain
Maximum Output Level:
10Hz- 100 kHz, +/- 0.50 dB.
Balanced TRS +28 dBu.
Unbalanced +22 dBu.
SEND AMPLIFIER NOISE: Un-weighted, 22Hz-22kHz,
E.I.N. (Equivalent input noise, Terminated 40 Ohms)
RETURN Maximum Input Level: Transformer balanced, floating
Input Impedance:>1OK Ohms
8
-100 dB
+25 dBu.