Rupert Neve Designs 5052 User manual

Serial #:
Operations Manual
5052
Mic Pre / Inductor EQ

1. Read these instructions.
2. Keep these instructions.
3. Heed all warnings.
4. Follow all instructions.
5. Do not use this apparatus near water.
6. Clean only with a dry cloth.
7. Do not block any ventilation openings. Install in accordance with the
manufacturer’s instructions.
8. Do not install near any heat sources such as radiators, heat registers,
stoves, or other apparatus (including amplifiers) that produce heat.
9. Do not defeat the safety purpose of the polarized or grounding-type
plug. A polarized plug has two blades with one wider than the other.
A grounding-type plug has two blades and a third grounding prong.
The wide blade or the third prong are provided for your safety. If the
provided plug does not fit into your outlet, consult an electrician for
replacement of the obsolete outlet.
10. Protect the power cord from being walked on or pinched particularly at
plugs, convenience receptacles, and the point where they exit from the
apparatus.
11. Only use attachments/accessories specified by the manufacturer.
12. Use only with a cart, stand, tripod, bracket, or
table specified by the manufacturer, or sold with
the apparatus. When a cart is used, use caution
when moving the cart/apparatus combination to
avoid injury from tip-over.
13. Unplug this apparatus during lightning storms or
when unused for long periods of time.
14. Refer all servicing to qualified service personnel. Servicing is required
when the apparatus has been damaged in any way, such as power-
supply cord or plug is damaged, liquid has been spilled or objects have
fallen into the apparatus, the apparatus has been exposed to rain or
moisture, does not operate normally, or has been dropped.
15. This apparatus shall not be exposed to dripping or splashing, and no
object filled with liquids, such as vases or beer glasses, shall be placed
on the apparatus.
16. Do not overload wall outlets and extension cords as this can result in a
risk of fire or electric shock.
17. This apparatus has been designed with Class-I construction and must
be connected to a mains socket outlet with a protective earthing
connection (the third grounding prong).
18. This apparatus has been equipped with a rocker-style AC mains power
switch. This switch is located on the rear panel and should remain
readily accessible to the user.
19. The MAINS plug or an appliance coupler is used as the disconnect
device, so the disconnect device shall remain readily operable.
20. NOTE: This equipment has been tested and found to comply with the
limits for a Class B digital device, pursuant to part 15 of the FCC Rules.
These limits are designed to provide reasonable protection against
harmful interference in a residential installation. This equipment
generates, uses, and can radiate radio frequency energy and, if not
installed and used in accordance with the instructions, may cause
harmful interference to radio communications. However, there is no
guarantee that interference will not occur in a particular installation.
If this equipment does cause harmful interference to radio or television
reception, which can be determined by turning the equipment o and
on, the user is encouraged to try to correct the interference by one or
more of the following measures:
• Reorient or relocate the receiving antenna.
• Increase the separation between the equipment and the
receiver.
• Connect the equipment into an outlet on a circuit different from
that to which the receiver is connected.
• Consult the dealer or an experienced radio/TV technician for
help.
CAUTION: Changes or modifications to this device not expressly
approved by Rupert Neve Designs LLC, could void the user's authority to
operate the equipment under FCC rules.
21. This apparatus does not exceed the Class A/Class B (whichever is
applicable) limits for radio noise emissions from digital apparatus as
set out in the radio interference regulations of the Canadian Department
of Communications.
ATTENTION — Le présent appareil numérique n’émet pas de bruits
radioélectriques dépassant las limites applicables aux appareils
numériques de class A/de class B (selon le cas) prescrites dans le
réglement sur le brouillage radioélectrique édicté par les ministere des
communications du Canada.
22. Exposure to extremely high noise levels may cause permanent hearing
loss. Individuals vary considerably in susceptibility to noise-induced
hearing loss, but nearly everyone will lose some hearing if exposed to
sufficiently intense noise for a period of time. The U.S. Government’s
Occupational Safety and Health Administration (OSHA) has specified
the permissible noise level exposures shown in the following chart.
According to OSHA, any exposure in excess of these permissible limits
could result in some hearing loss. To ensure against potentially
dangerous exposure to high sound pressure levels, it is recommended
that all persons exposed to equipment capable of producing high
sound pressure levels use hearing protectors while the equipment
is in operation. Ear plugs or protectors in the ear canals or over the
ears must be worn when operating the equipment in order to prevent
permanent hearing loss if exposure is in excess of the limits set forth
here:
Important Safety Instructions
CAUTION AVIS
RISK OF ELECTRIC SHOCK. DO NOT OPEN
RISQUE DE CHOC ELECTRIQUE. NE PAS OUVRIR
CAUTION: TO REDUCE THE RISK OF ELECTRIC SHOCK DO NOT REMOVE COVER (OR BACK)
NO USER-SERVICEABLE PARTS INSIDE. REFER SERVICING TO QUALIFIED PERSONNEL
ATTENTION: POUR EVITER LES RISQUES DE CHOC ELECTRIQUE, NE PAS ENLEVER LE COUVERCLE.
AUCUN ENTRETIEN DE PIECES INTERIEURES PAR L'USAGER.
CONFIER L'ENTRETIEN AU PERSONNEL QUALIFIE.
AVIS: POUR EVITER LES RISQUES D'INCENDIE OU D'ELECTROCUTION, N'EXPOSEZ PAS CET ARTICLE
A LA PLUIE OU A L'HUMIDITE
The lightning flash with arrowhead symbol within an equilateral triangle is
intended to alert the user to the presence of uninsulated "dangerous
voltage" within the product's enclosure, that may be of sufficient magnitude
to constitute a risk of electric shock to persons.
Le symbole éclair avec point de flèche à l'intérieur d'un triangle équilatéral
est utilisé pour alerter l'utilisateur de la présence à l'intérieur du coffret de
"voltage dangereux" non isolé d'ampleur suffisante pour constituer un risque
d'éléctrocution.
The exclamation point within an equilateral triangle is intended to alert the
user of the presence of important operating and maintenance (servicing)
instructions in the literature accompanying the appliance.
Le point d'exclamation à l'intérieur d'un triangle équilatéral est employé
pour alerter les utilisateurs de la présence d'instructions importantes pour le
fonctionnement et l'entretien (service) dans le livret d'instruction
accompagnant l'appareil. WARNING — To reduce the risk of fire or electric shock, do not
expose this apparatus to rain or moisture.
Duration,
per day in
hours
Sound Level
dBA, Slow
Response
Typical Example
8 90 Duo in small club
6 92
4 95 Subway Train
3 97
2 100 Typical music via head phones
1.5 102
1 105 Siren at 10 m distance
0.5 110
0.25 or less 115 Loudest parts at a rock concert
PORTABLE CART
WARNING

5052: Front Panel
-15 +15
0
-15 +15
0
-15 +15
0
-6dB +20
100mS 2.5 S
250 1 S
-30dB +20dB
-10 +10
GAIN
1.1:1 40:1
RATIO
1.5:1 3:1
FF
FB
LO PEAK
8K
16K
THRESH
S/C HPF
RELEASE
LINK
5mS 75mS
AT TA CK
25 50
COMP IN
EQ IN
EQ PRE
POST
220
100
60
35
MID FREQ
MID HI Q
LOW FREQ
0
22
20
18
14
10
4
-2
-10
1
2
4
6
10
14
18
22
LevelGR
3K
1.5K
700
350
200
6K
HF
MID
LF
HI PEAK
HPF
Red 120Hz
Blue 60Hz
INDUCTOR EQ
5051 EQ/C omp r essor
COMPRESSOR
LINE 1
LINE 2
LF
PEAK
8K
16K
EQ IN
220
100
60
35
MID FREQ
MID
HI Q
LOW FREQ
3K
1.5K
700
350
200
6K
HF
MID
LF
HF
PEAK
M ic P re
5052 Mic Pre/EQ
I nductor EQ
MIC
LINE
36
30
24
18
12
60dB 66
60
54
48
42
20Hz 250Hz
100
MIN MAX
-15 +15
0
-15 +15
0
-15 +15
0
TEXTURE
0dB
-6 +6
TRIM
MIC GAIN
SILK
RED / BLUE
48V
HPF
TO EQ
FREQ
22
20
18
14
10
4
-2
-10
Level Meters
8 segment LED Meter for
monitoring output level
HPF
Trim
Mid Parametric
Low Frequency EQ
High Frequency Shelf / Peak
Continuously variable HPF
from 20-250Hz at 12dB /
Octave
Continuously variable +/-
6dB trim control
Selectable at 35, 60, 100, and
220 Hz. Continuous gain from -15 to
+15dB Selectable peak or shelf curves.
Selectable at 200, 350, 700,
1.5 K, 3 K, and 6 KHz. With
continuous gain from -15 to
+15dB. Selectable Hi Q.
Selectable at 8 and 16 Khz. With
continuous gain from -15 to +15dB.
Selectable peak or shelf curves
Mic Gain
66dB of gain in 6dB steps
Texture
Continuously variable
control for Silk Red & Blue.
At max setting and levels
THD is 4-5% (mostly 2nd
order)
EQ In
Engages the 3-band EQ
Mic / Line
Selects between mic and
line inputs
To EQ
Sends the Mic Pre signal
directly to the EQ
5052 Mic Pre / Inductor EQ
Thank you for your purchase of the 5052 Mic Pre / Inductor EQ. 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 previous list of safety
concerns before the use of this product.

Mic Out
Transformer-balanced XLR
line level direct out from the
mic pre. Mic out, does not
have EQ or Silk.
Line Output
Transformer-balanced line
level, XLR output. The main
output transformer includes
the Silk / Texture.
Mic Input
Transformer-balanced XLR mic
input selectable on the front panel
Power In
4 pin power connection with
+ / - 24V DC from specialized
Shelford Series supplies
Line Input
Transformer-balanced XLR
line level inputs selectable on
the front panel
POWER
MIC
IN
LINE
IN
MIC
OUT
MAIN
OUT
EQ
IN
RUPERT NEVE DESIGNS, LLC
MODEL 5052
MADE IN USA
EQ Input
Balanced XLR line level
input to the EQ section.
When the TO EQ switch is
engaged, the EQ recieves
its signal from the mic pre
instead of the EQ input
5052:
Back Panel

Power Requirements
Each Portico 5052 is tted for use with a specialized stand alone, multi-unit power
supply modules. The power supplies feature a proprietary 4 pin polarized input for
+24 and -24V DC power input, and come in 5-way and 25-way options. The 5-way
is an 8”x5”x5” brick, & 25-way is a 2U rack-mountable supply.
5052 Design Notes
The Shelford 5052 echoes the simple and denitive 1073 feature set with a
vertically-oriented mic pre, high pass lter, and 3-band inductor EQ, while also
incorporating modern capabilities like the variable Silk / Texture control from the
Portico II Series and simultaneous pre / post “tape” operation. Utilizing class-A,
discrete, +/- 24V topologies with custom-wound transformers and inductors, Rupert
Neve designed the 5052 as a vintage-style channel strip that captures the soul of his
classic designs, without the previous compromises.
Traditional transformer coupled inputs and outputs are used for both technical
performance reasons and optimum musical reproduction. All of the signal paths
use class-A gain blocks; using as few of these as possible to get the job done. By
combining this minimalisitic design aesthetics with class-A gain blocks and custom
transformers, the 5052 provides the extraordinary performance and musicality
expected from a Rupert Neve design.
Like Rupert’s designs from his time in Shelford, the 5052 preamplier has 72dB of
discrete, class-A gain coupled with serious square-core transformers. Unlike the
classics however, the output transformer features the Silk Red / Blue and Texture
controls from the Portico II Series to hone the harmonic content and tonality of the
output stage. By engaging these controls and sufciently driving the output, the
5052 can produce up to 4-5% THD (primarily 2nd order, some 3rd order), bringing
a richness and thickness to tracks when desired with no danger of overloading
5052:
Back Panel
5052: Block Diagram
0 - 66dB
-IN
OU T PU T STA G E
OUTP UT TR ANS F OR MER
20Hz - 250Hz
HPF
+/-6dB
T RIM
PH NT M
PH A SE
L evel Meter
+IN
HPF ENG A G E
ST E PPE D GA IN
CO NT IN U OU S TRIM
+48VDC
2 1
4
3
G
MI C OUTPUT
2
3
4
1
MI C INPUT
2
3
4
1
LI NE INP UT
2
3
4
1
EQ NPUT
INP UT TRANS FOR MER
MIC/ L IN E
OU T PU T STA G E
OUTP UT TR ANS F OR MER
SIL K
RE D/BL U E
T E X T U RE
2 1
4
3
G
MAI N OUTP UT
T L A T O EQ
MID EQ HI & LO SHEL V E S
E Q ENG A G E
T O EQ

the output stage. With Silk disengaged, the output is modern and pristine, yet still
retains Rupert’s signature larger-than-life transformer sound. The mic pre section also
includes a sweepable 20-250Hz high-pass lter, Mic / Line selection, 48V phantom
power, and polarity reverse.
Following the preamplier, the 5052 has a transformer-coupled output, which allows
the 5052 to feed a tape machine or DAW directly from the mic pre while still using
the EQ and Silk / Texture in a dedicated analogue mix path such as that found with
a 5088, 5060 or vintage console. This output can also be used to insert a separate
compressor or other processing between the mic pre and the EQ, or it can allow
the 5052 to work with two separate sources. When the “TO EQ” button is engaged,
the mic pre signal is routed directly into the EQ such that the mic / line input signal
ows through to the main output as a single channel strip.
The 3-band, custom-tapped inductor EQ on the 5052 was inspired by RND’s
favorite portions of Rupert’s vintage EQ designs. The low frequency band is
primarily based on the 1064, which is renowned for its creamy, resonant bass.
Unlike the 1064 however, the LF band on the 5052 can be used as either a shelf
or a peak lter, adding punch, dimension, and immense control to your low end.
The 5052’s inductor midrange band is based on his prized 1073 EQ, which is
ideal for sweetening vocals and instruments while bringing them forward in a
mix. Additionally, the mid frequency band’s proportional “Q” response makes it
well-suited for minimizing problematic frequencies in a source. The 5052’s high
frequency band is a hybrid vintage / modern design, blending inductor circuitry
from the 1073 with capacitor-based topologies to achieve the vintage tones with
enhanced control. As Rupert originally intended with his 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. The EQ circuit itself,
however, is a decidedly modern updated design using techniques and components
that were simply not available 35 years ago, and should not be considered a
“clone”.
Both the high and low band can be switched from shelf to peak curves and offer 15
dB of boost or cut. The high band can be switched from 8 kHz to 16 kHz, and the
low band can be selected at 35 Hz, 60 Hz, 100 Hz or 220 Hz. The inductor based
Mid Band offers 6 center frequencies; 200 Hz, 350 Hz, 700 Hz, 1.5 kHz, 3 kHz
and 6 kHz. The Mid Band also has a “Mid Hi Q” switch to narrow the bandwidth
(increase the Q) of the lter.
The 5052 has two 8 segment fast acting accurate LED bar-graph meters to indicate
Output Level.
Like the 5051, the 5052 requires its own standalone power supply to operate. The
two available power supplies feature proprietary 4-pin polarized outputs at +24 and
-24V DC, and will power either ve or twenty-ve 5052 modules.

MIC PRE DESIGN NOTES FROM MR. RUPERT NEVE
In former years, before the introduction of solid state ampliers, transformers
were necessary to step down from the very high input impedance of tubes, and to
provide a balanced input for the microphone line. An input impedance of 1,000
or 1,200 ohms became established for microphones having a source impedance of
150 or 200 ohms, with connection being made on a twisted twin screened cable
(This type of cable, while excellent for low impedance work, has high capacitance
between its conductors and between each conductor and screen. Resultant high
frequency losses are excessive with high impedance sources like piezo pickups
and may cause resonances with magnetic pickups.). Condenser microphones
worked off high voltage supplies (250V!) on the studio oor which polarized the
diaphragms and powered a built-in pre-amplier.
More and more microphones were needed as “Pop” music gained ground and
this led to the popular and efcient method of 48-volt “Phantom” powering that
was built into the multi-channel recording console – in place of numerous bulky
supplies littering the studio, a miniature pre-amplier now being tted inside the
microphone casing.
The 48-volt supply was fed to the microphone through balancing resistors so it
was impossible for all of this voltage to actually reach the microphone, resulting in
low polarizing volts to the microphone capsule and virtual starvation of the little
pre-amp inside the microphone. Nevertheless amazingly good microphones were
designed and made, becoming the familiar product we use today.
If a low value resistive load is connected to the output of an amplier, that amplier
has to produce power in order to maintain a voltage across that load. Obviously
if we want more voltage (output from the microphone) we need to provide a
larger supply for the amplier or design ampliers with a higher input impedance,
and therefore a lighter load. A microphone is a voltage generator, not a power
amplier. Most microphones give their most accurate performance when they are
not loaded by the input impedance of a traditional preamplier. If the microphone
uses an electronic circuit (transformerless) output, a low value of load impedance
can possibly stress the little microphone pre-amplier, causing decreased slew rate
and compression at high levels.
On the other hand, a high value of load impedance allows the microphone to
“breathe” and give of its best, this being particularly advantageous with very high
level percussive sounds. If the microphone has an inductive source (such as would
be the case if it has a transformer output) a low value of load impedance causes the
high frequencies to roll off due to leakage inductance in the transformer in addition
to the above amplier distortion (This can be an advantage with some condenser
microphones!).
For this reason we have provided a high value of input impedance that will load
microphones to the smallest possible extent and makes the best possible use of that
limited “Phantom” 48-volt supply.

5052 Features
MIC GAIN
A 12-way precision rotary switch controls gain from 0 to 66 dB in 6 dB steps.
Trim
Continuously variable +/-6 dB level control.
+48V
Engages phantom power on the microphone input.
POLARITY
Push button inverts the polarity of the signal path, and illuminates when engaged.
The symbol “Ø” is often used to denote opposite polarity.
MIC / LINE
Selects between between the Line and Mic inputs on the back panel of the 5052.
EQ IN
Engages all bands of the equalizer except the hpf.
HF
Adjusts up to 15 dB of boost or cut at selected high frequencies.
8K /16K
With the switch out, the center or corner frequency of the high band is 8 kHz. With
the button pressed, the center or corner frequency changes to 16 kHz. Between this
switch and the HI PEAK switch, you have 4 different EQ curves to nesse the high
frequency content.
HI PEAK
When the button is out, the high frequency band operates in shelf mode, boosting or
cutting above the corner frequency at approximately 6 dB/octave. Below the corner
frequency the amount of boost or cut gradually diminishes. With the HI PEAK button
pressed, the high frequency band changes to peak mode with a bell shaped boost
or cut curve. The Peak mode utilizes an inductor and capacitor circuit to create the
bell-shaped curve.
MID FREQ
The MID FREQ rotary switch has 6 positions to select the center frequency of the
mid band EQ stage. This circuit utilizes an inductor and capacitors to shape the EQ
curve, the same way as Rupert Neve’s console designs of the 70’s. The frequencies
chosen are 200 Hz, 350 Hz, 700 Hz, 1.5kHz, 3 kHz and 6 kHz. 200 Hz is
especially useful for cuts on individual tracks within a dense mix.
MID HI Q
The resonance or Q of the mid band at maximum boost is typically 2 when the

button is out. When the MID HI Q is pressed at maximum boost, the Q narrows
to approximately 3.5. The Q widens nicely with less boost or cut as is typical for
passive EQ circuits. The Q tends to be slightly wider when the frequency is set
lower, and slightly higher for higher frequency selections. The Q is also narrower
for cuts than it is for boosts and the mid band is non-symmetrical by design.
MID LEVEL
Adjusts up to 15 dB of boost or cut at the selected mid frequencies. Remember to
reduce the signal level at the source to minimize the potential for distortion when
any of the 3 bands are boosted signicantly.
HPF
The HPF switch engages a 12dB per octave high pass lter. The HPF potentiometer
is variable from 20Hz to 250Hz, and can be used to lter out unwanted low
frequencies, or in conjunction with the EQ to help shape source material.
LOW FREQ
The LOW FREQ rotary switch has 4 positions for selecting one of four corner or
center frequencies for the low band EQ section. The frequencies are 35 Hz, 60 Hz,
100 Hz and 220 Hz.
LF PEAK
When the button is out, the low frequency band operates in shelf mode, boosting
or cutting below the corner frequency. Above the corner frequency the amount of
boost or cut gradually diminishes at approximately 6 dB/octave. With the HI PEAK
button pressed the low frequency band changes to peak mode with a bell shaped
boost or cut curve. Between the LF PEAK button and LF FREQ rotary switch, an
engineer has 8 tonal variations of EQ shapes to nesse the bottom end, plus the
high pass lter can be introduced for further tightening and manipulation.
LF
Adjusts up to 15 dB of boost or cut at the selected low frequencies. Cut can be used
as a variable, and perhaps more gentle alternative to using the HPF. Remember to
reduce the signal level at the source to minimize the potential for distortion when
any of the 3 bands are boosted signicantly.
SILK / TEXTURE
Pushing the Silk button cycles the silk modes from red silk to blue silk to off. Silk
reduces the negative feedback on the output transformer, adding harmonic content
as the texture is increased. Red Silk accentuates the saturation in the mid and high
frequencies, similar to that of the red silk mode on the Portico II Channel. Blue Silk
accentuates low frequencies. By manipulating the Texture control, the amount of
Silk can be changed from essentially absent, to roughly 4-5% THD (mostly second
order) depending on how hard the output transformer is being driven.
LEVEL METER
Displays the nal peak output level of the 5052. In the case of feeding the 5052
into A to D converters, one should primarily depend on the converters own meters

due to possible converter calibration variables. The 5052 level meter is calibrated
for dBu, and the red LEDs may not necessarily match up with the destination
device.
MIC IN
XLR female transformer balanced oating input associated with the Mic position of
the front panel input switch. Pin 2 high, 10 k Ohm input impedance.
LINE IN
XLR female transformer balanced oating input associated with the LINE position of
the front panel input switch. Pin 2 high.
EQ IN
XLR female balanced input that feeds the EQ section when the TO EQ switch is
disengaged. Pin 2 high, 10 k Ohm input impedance.
MIC OUTPUT
XLR male transformer coupled oating output. Pin 2 high.
MAIN OUTPUT
XLR male transformer coupled oating output. Pin 2 high. The main output is the
only output that incorporates the Silk and Texture Circuitry.
POWER
Proprietary 4 pin polarized input for +24 and -24V DC power input. This power
requirement and connector is meant to be used with a special shared power supply.
Be sure to align the key in the cable to the keyway in the unit and power supply
socket connectors.
A NOTE ON DISTORTION
The human hearing system is a remarkably complex mechanism and we
seem to be learning more details about its workings all the time. For example,
Oohashi demonstrated that arbitrarily ltering out ultrasonic information that
is generally considered above our hearing range had a measurable effect on
listener’s electroencephalo-grams. Kunchur describes several demonstrations
that have shown that our hearing is capable of approximately twice the timing
resolution than a limit of 20 kHz might imply (F=1/T or T=1/F). His peer reviewed
papers demonstrated that we can hear timing resolution at approximately with 5
microsecond resolution (20 kHz implies a 9 microsecond temporal resolution,
while a CD at 44.1k sample rate has a best-case temporal resolution of 23
microseconds).
It is also well understood that we can perceive steady tones even when buried
under 20 to 30 dB of noise. And we know that most gain stages exhibit rising
distortion at higher frequencies, including more IM distortion. One common IM
test is to mix 19 kHz and 20 kHz sine waves, send them through a device and then
measure how much 1 kHz is generated (20-19=1). All this hints at the importance
of maintaining a sufcient bandwidth with minimal phase shift, while at the
same time minimizing high frequency artifacts and distortions. All of the above
and our experience listening and designing suggest that there are many subtle

aspects to hearing that are beyond the realm of simple traditional measurement
characterizations.
The way in which an analog amplier handles very small signals is as important
as the way it behaves at high levels. For low distortion, an analog amplier must
have a linear transfer characteristic, in other words, the output signal must be an
exact replica of the input signal, differing only in magnitude. The magnitude can be
controlled by a gain control or fader (consisting of a high quality variable resistor
that, by denition, has a linear transfer characteristic.) A dynamics controller - i.e.
a compressor, limiter or expander - is a gain control that can adjust gain of the
amplier very rapidly in response to the uctuating audio signal, ideally without
introducing signicant distortion, i.e. it must have a linear transfer characteristic.
But, by denition, rapidly changing gain means that a signal “starting out” to be
linear and, therefore without distortion, gets changed on the way to produce a
different amplitude.
Inevitably our data bank of “natural” sound is built up on the basis of our personal
experience and this must surely emphasize the importance of listening to “natural”
sound, and high quality musical instruments within acoustic environments that
is subjectively pleasing so as to develop keen awareness that will contribute to a
reliable data bank. Humans who have not experienced enough “natural” sound
may well have a awed data bank! Quality recording equipment should be capable
of retaining “natural” sound and this is indeed the traditional measuring stick. And
“creative” musical equipment should provide the tools to manipulate the sound
to enhance the emotional appeal of the music without destroying it. Memory
and knowledge of real acoustic and musical events may be the biggest tool and
advantage any recording engineer may possess.
One needs to be very careful when one hears traces of distortion prior to recording
because some avors of distortion that might seem acceptable (or even stylish)
initially, may later prove to cause irreparable damage to parts of the sound (for
example, “warm lows” but “harsh sibilance”) or in louder or quieter sections of
the recording. Experience shows that mic preamps and basic console routing paths
should offer supreme delity otherwise the engineer has little control or choice of
recorded “color” and little recourse to undo after the fact. Devices or circuits that
can easily be bypassed are usually better choices when “color” is a consideration
and this particularly is an area where one might consider comparing several such
devices. Beware that usually deviations from linearity carry at least as much long-
term penalty as initial appeal, and that one should always be listening critically
when recording and generally “playing it safe” when introducing effects that cannot
be removed.
1. Tsutomu Oohashi, Emi Nishina, Norie Kawai, Yoshitaka Fuwamoto, and Hishi
Imai. National
Institute of Multimedia Education, Tokyo. “High Frequency Sound Above the
Audible Range,Affects Brain Electric Activity and Sound Perception” Paper read at
91st. Convention of the A.E.S.October 1991. Section 7. (1), Conclusion.
2. Miland Kunchur,Depart of Physics and Astronomy, University of South Carolina.

“Temporal resolution of hearing probed by bandwidth restriction”, M. N. Kunchur,
Acta Acustica united with Acustica 94, 594–603 (2008) (http://www.physics.
sc.edu/kunchur/Acoustics-papers.htm)
3. Miland Kunchur,Depart of Physics and Astronomy, University of South Carolina.
Probing the temporal resolution and bandwidth of human hearing , M. N. Kunchur,
Specifications
Mic Pre
Noise
Un-weighted, 22Hz-22kHz, source impedance 150 Ohms balanced.
Mic Pre Out @ unity gain Better than -102dBV
Main Out @ unity gain Better than -103dBV
With gain @ +66dB Better than -60dBV
Equivalent Input Noise Better than -126dB
Gain Unity up to +66dB in 6dB steps
followed by a +/- 6dB trim
Line Input
Gain +/- 6dB continuously adjustable
Mic Pre Output
Un-weighted, 22Hz-22kHz, source impedance 40 Ohms balanced, no load, via
line input with 40 Ohm source impedance.
Noise Better than -102dBV
Frequency Response
+/- 0.1dBu from 10Hz to 31.5kHz
-2.6dB @ 120kHz
Maximum Output Level 25dBu
Total Harmonic Distortion and Noise
@ 1kHz, +20dBu output level, no load. Better than 0.002%
@ 20Hz, +20dBu output level, no load. 0.25% Typical (2nd and 3rd
harmonic)
Main Output
Measured via line input.
Noise Better than -102dBV
Un-weighted, 22Hz-22kHz, source impedance 40 Ohms balanced, no load.
Frequency Response
+/- 0.1dBu from 10Hz to 40kHz
-1dB @ 174kHz
Maximum Output Level 25dBu

Total Harmonic Distortion and Noise
@ 1kHz, +20dBu output level, no load. Better than 0.002%
@ 20Hz, +20dBu output level, no load. 0.08% Typical (2nd and 3rd
harmonic)
Total Harmonic Distortion and Noise with SILK engaged
RED
TEXTURE @ min
@ 100Hz, +20dBu input level, no load 0.015%, mostly 3rd harmonic
(typical)
TEXTURE @ max
@ 100Hz, +20dBu input level, no load 1.5%, mostly 2rd harmonic (typical)
BLUE
TEXTURE @ min
@ 100Hz, +20dBu input level, no load 0.0075%, mostly 3rd harmonic
(typical)
TEXTURE @ max
@ 100Hz, +20dBu input level, no load 1%, mostly 2rd harmonic (typical)
EQ Input
Noise Better than -105dBV
Un-weighted, 22Hz-22kHz, source impedance 40 Ohms balanced, no load.
Frequency Response
+/- 0.1dBu from 10Hz to 40kHz
-1dB @ 174kHz
Maximum Output Level 26dBu
Total Harmonic Distortion and Noise
@ 1kHz, +20dBu output level, hi Z. Better than 0.002%
@ 20Hz, +20dBu output level, hi Z. 0.006% Typical (2nd and 3rd
harmonic)
High Pass Filter
Continuously variable swept frequency from 20Hz to 250Hz.
Slope: 12dB/Octave
w/ Equaliser Engaged
Noise
Un-weighted, 22Hz-22kHz, source impedance 40 Ohms balanced, no load.
Better than -95dBV
Maximum Output Level
25dBu

Phantom Power
Supplied by internal switching converter. Switch selectable on front faceplate.
Maximum input:
from 20 Hz to 20 kHz, +25 dBu.
Power Requirements
@ +/-24VDC maximum current draw 0.26A/0.20A
Low Frequency EQ
ColorSweep Trace Comment
1 1 Red EQ Flat
2 1 Cyan 35 Hz Full Boost
3 1 Cyan 35 Hz Full Cut
4 1 Green 60 Hz Full Boost
5 1 Green 60 Hz Full Cut
6 1 Magenta 100 Hz Full Boost
7 1 Magenta 100 Hz Full Cut
8 1 Red 220 Hz Full Boost
9 1 Red 220 Hz Full Cut
-20
+20
-15
-10
-5
+0
+5
+10
+15
d
B
u
10 200k
20 50 100 200 500 1k 2k 5k 10k 20k 50k
Hz

ColorSweep Trace Comment
1 1 Red Flat
2 1 Magenta 8K Shelf Full Boost
3 1 Magenta 8K Shelf Full Cut
4 1 Cyan 16K Shelf Full Boost
5 1 Cyan 16K Shelf Full Cut
6 1 Green 8K Peak Full Boost
7 1 Green 8K Peak Full Cut
8 1 Red 16K Peak Full Boost
9 1 Red 16K Peak Full Cut
-25
+25
-20
-15
-10
-5
+0
+5
+10
+15
+20
d
B
u
10 200k
20 50 100 200 500 1k 2k 5k 10k 20k 50k
Hz
Color
Sweep Trace Comment
1 1 Red Flat
2 1 Magenta 200 Hz Full Boost
3 1 Magenta 200 Hz Full Boost Hi Q
4 1 Magenta 200 Hz Full Cut
5 1 Magenta 200 Hz Full Cut Hi Q
6 1 Cyan 350 Hz Full Boost
7 1 Cyan 350 Hz Full Boost Hi Q
8 1 Cyan 350 Hz Full Cut
9 1 Cyan 350 Hz Full Cut Hi Q
-25
+20
-20
-15
-10
-5
+0
+5
+10
+15
d
B
u
10 200k 20 50 100 200 500 1k 2k 5k 10k 20k 50k
Hz
High Frequency EQ
Mid Frequency EQ

PRODUCT WARRANTY
Rupert Neve Designs warrants this product to be free from defects in materials and workmanship for a period of three
(3) years from date of purchase, and agrees to remedy any defect identied within such three year period by, at our
option, repairing or replacing the product.
LIMITATIONS AND EXCLUSIONS
This warranty, and any other express or implied warranty, does not apply to any product which has been improperly
installed, subjected to usage for which the product was not designed, misused or abused, damaged during shipping,
damaged by any dry cell battery, or which has been altered or modied in any way. This warranty is extended to the
original end user purchaser only. A purchase receipt or other satisfactory proof of date of original purchase is required
before any warranty service will be performed.THIS EXPRESS, LIMITEDWARRANTY IS IN LIEU OF ALL OTHERWARRANTIES,
EXPRESS OR IMPLIED, TO THE EXTEND ALLOWED UNDER APPLICABLE STATE LAW. IN NO EVENT SHALL RUPERT NEVE
DESIGNS BE LIABLE FOR ANY SPECIAL, INCIDENTAL, OR CONSEQUENTIAL DAMAGES RESULTING FROM THE USE OF THIS
PRODUCT. Some states do not allow the exclusion or limitation of consequential damages or limitations on how long
an implied warranty lasts, so this exclusion may not apply to you.
WARRANTY SERVICE
If you suspect a defect in this product, please call us at 512-847-3013 or contact our support sta (service@rupertneve.
com) for troubleshooting. If it is determined that the device is malfunctioning, we will issue a Return Material
Authorization and provide instructions for shipping the device to our service department.
Rupert Neve Designs
PO Box 1969
Wimberley TX 78676
www.rupertneve.com
tel: [phone]
fax: [phone]
775-00020 Rev B