Rupert Neve Designs Portico 5016 User manual

INTRODUCTION
1
Thank you for your purchase of the Portico™ 5016 Microphone Pre-amplifier and DI module.
Everyone at Rupert Neve Designs hope 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 a list of “do’s and don’ts” under this heading but mostly these amount to
common sense issues. However here are some reminders:
The PorticoTM 5016 dissipates about 9 watts, which means that it will get warm in use. The heat
generated is radiated through the case work and by convection through the ventilation holes.
Therefore the holes should not be covered or blocked. Portico™ modules may be stacked
horizontally on a desktop or mounted vertically in a rack without heat problems. The anti-slip feet
may be removed while used in a rack, 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 a very detrimental effect. Sugar crystals act like little rectifiers and can produce
noise (crackles, etc.). SWITCH OFF IMMEDIATELY because once current starts to flow the
mixture hardens, can get very hot (burnt toffee!) and cause permanent and costly damage. 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. Please contact support as soon as possible at
[email protected] for resolution.
Don’t be tempted to operate a PorticoTM with the cover removed. The cover provides magnetic
screening from hum and R.F. stray fields.
Power Requirements
Each Portico™ 5016 module has two built-in DC to DC converters that provide +/– 17.5 VDC for
the amplifiers and + 48 VDC for microphone Phantom Power. The input is protected from reverse
polarity. The connector center pin must be positive. The converters will work from virtually any
DC supply from 9 to 18 volts that is reasonably “clean”. Avoid using a Power Outlet on the same
circuit as air conditioning or other equipment that regularly switches on and off. Unplug the
Portico™ power unit(s) during a thunder storm or if it will be unused for a long period.
When using a 12-volt battery, choose one that has enough capacity to power your PorticoTM 5016 -
or your complete assembly of Portico™ modules – for the expected duration of your session. For
example, a 48 ampere-hour battery will power 8 Portico™ 5016 modules for 9 hours.
*See power requirement on specifications page.

FEATURE LIST
+48V
Phantom Power
For appropriate microphones
Warning! Mute output prior to
engaging/disengaging
Phantom power
Phase Invert
Swings phase
180 degrees
Mute
Main Output Mute
(Meter/Buss stay active)
To Buss
Sends signal
To Buss output
High Pass Filter
Fully variable from
20Hz to 250Hz
Mic Gain
Precision gain switch
(0 to +66dB in 6dB steps)
Level Meter
Signal Present (SP) to +22 dBu
Referenced to the output
5016 Mic Pre / DI - Front Panel
5016 Mic Pre / DI - Back Panel
DC input jack
2.1 x 5.5 x 9.5mm
Center Positive
SILK
Reduces negative feedback and
adjusts the frequency spectrum
to provide a very sweet
and musical performance.
Power Switch
Disconnects supply
from internal power converters
PorticoTM Bussing System
Connect as many units together as you'd
like to create your own mixes using
optional bussing modules
Top and bottom rows are normalled
together to allow for an IN / OUT / THRU
configuration
Output
Transformer coupled
balanced and floating
1 = GND 2 = HOT 3 = COLD
Microphone Input
TLA Balanced Input
1 = GND 2 = HOT 3 = COLD
Line Input
Balanced Input
1 = GND 2 = HOT 3 = COLD
2
DI / LINE GAIN TRIM
Input gain trim
DI: +10 to +30dB
LINE: 0 to +20dB
GND LIFT
Lift chassis ground
from analog ground
Vari Phase
Engage variable phase
circuit on DI/LINE
Phase Adjust
Variable phase
adjustment
THRU
isolated
thru output
DI
High Impedance
Direct input
for instrument
DI / LINE
Choose DI on front
or line input on back
MICDI
LINE INPUT
MIC
DI

5016 MIC PRE/DI
3
The Rupert Neve Designs Portico™ 5016
MICROPHONE PRE-AMPLIFIER AND DI MODULE
The Rupert Neve Designs 5016 module is a half rack width, 1.75” (1U) module in the now well-
known Portico™ style. As with the entire Portico™ range, the construction is a heavy and robust
steel shell that provides total magnetic screening and exceptional mechanical stability. The front
panel is machined from a solid .20 inch aluminum plate with a steel sub panel behind it.
Alternative front panel layouts are available providing a choice of vertical or horizontal mounting.
When the horizontal front panel is chosen, a single 5016 can sit firmly on a bench or desktop on its
detachable rubber feet. Two 5016s can be joined with the optional Horizontal Joining Kit, model
number 5221-RM, and mounted across a standard 19” rack.
When the vertical option is chosen, up to eight 5016s can be mounted in the optional vertical frame,
model number 5285-RM. This leaves a 3” wide space that can be used to house a power supply or
other future modules. The vertical frame assembly is designed for rack mounting and includes basic
rear cable management. Blank panels are available to fill any unused spaces when the full
complement of eight modules is not fitted into the vertical frame.
MICROPHONE INPUT
The microphone input is balanced but not floating, being a variant of an instrumentation amplifier.
My well-proven “Transformer-Like-Amplifier” (T.L.A.) configuration is used, which includes an
accurate toroidal Common Mode Low Pass Filter that rejects Common Mode signals and excludes
frequencies above 150 kHz. (There are high powered broadcast transmitters at and above this
frequency in several Continents and, even if you can’t hear them, any vestigial intermodulation
products must be excluded!)
When the Mic Gain switch and Trim controls are set to Unity (0 dB) the Portico™ 5016
microphone pre-amplifier can handle a balanced input signal of more than +20 dBu without an
input attenuator pad! This is a unique feature that enables this input to double as an additional line
input.

5016 MIC PRE/DI
4
THE MIC PRE OUTPUT
The output stage is identical with that of the Portico™ 5012, using single-sided circuitry, driving a
carefully configured output transformer that can deliver a full +25dBu from the balanced and
ground-free secondary winding.
This maximum output level provides a large margin over and above the likely maximum
requirement of any destination equipment to which the Portico™ 5016 may be connected. This is
especially true when feeding digital equipment!
Freedom from the interference fields that are inevitably present in any control room is virtually
guaranteed by the balanced, ground-free design used in the Portico™ modules. My original classic
modules always used transformers, as do a number of other high quality vintage modules still in
current use.
High quality transformer connectivity has been used for many years, enabling modular amplifier
units to deliver the sonic performance for which they are famous.
Bear in mind that human ears are very sensitive and can perceive incredibly minute interference
signals that are not part of the “desired” signal. If unbalanced connections are used, great care must
be exercised to avoid ground loops and common signal paths. Reduced immunity from various
forms of interference can be tolerated (sometimes) but usually results in a loss of that transparent
musical resolution that we all love.
However, the output of any Portico™ transformer-coupled module may be used with one side
grounded if necessary, for example to use with “Hi-Fi”, “consumer” or other unbalanced audio
gear, without degrading the performance of such devices. Care must be exercised when using
ancillary equipment to avoid overloading it.
THE BUSS OUTPUT
The Buss output is balanced and high impedance, and the BUSS connection is derived pre-mute. It
is intended for use with modules in the Portico™ range which are equipped with a matching MIX
or BUSS input.
The Portico™ 5016 BUSS output has dual, paralleled, TRS connectors that allow any number of
Portico™ modules to be mixed to the BUSS input on any of these appropriate modules using a
standard TRS patch cord.
When multiple Portico™ modules are configured in a console assembly, mixing busses will be
available at many points (beyond the ones traditionally expected), providing enormous flexibility.
More detailed descriptions with suggested block and system diagrams are available in the future on
the Rupert Neve Designs website at www.rupertneve.com.

5016 MIC PRE/DI
5
DESIGN NOTES
In former years, before the introduction of solid state amplifiers, transformers were necessary to
step up to 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 piezo pickups and may cause resonances with magnetic pickups) Thus
microphones were not heavily loaded. Condenser microphones worked off high voltage supplies
(300V!) on the studio floor which polarized the diaphragms and powered a built-in pre-amplifier.
More and more microphones were needed as “Pop” music gained ground and this led to the popular
and efficient 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-amplifier now
being fitted inside the microphone casing.
The 48-volt supply was fed to the microphone through balancing resistors so it was impossible for
this voltage to actually reach the microphone, resulting in low polarizing volts 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 amplifier, that amplifier 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 amplifier or settle for a lighter
load.
A microphone is a voltage generator, not a power amplifier. Most microphones give their most
accurate performance when they are not loaded by the input impedance of a traditional
preamplifier.
If the microphone uses an electronic circuit (transformerless) output, a low value of load impedance
will likely stress the little microphone pre-amplifier, causing 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 amplifier distortion (This can be an advantage with some
microphones!).
For this reason I 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-volts supply.

5016 MIC PRE/DI
6
MIC PRE CONTROLS
MIC GAIN  A 12-way precision rotary switch covering from 0 to 66 dB in 6 dB steps.  
  Selecting the right gain optimizes Noise and Headroom.
TRIM  Provides further gain adjustment, continuously over a range of +/– 6 dB.
+48V  Push button makes phantom power available at the microphone input.
Ø  Push button inverts the phase of the signal path.
MUTE  Disconnects the main output.
SILK   Much could be written about this feature, but suffice to say that it gives a subtle
option to enhance sound quality in the direction of vintage modules. The SILK
button reduces negative feedback and adjusts the frequency spectrum to
provide a very sweet and musical performance. We suggest you try it and make
your own judgment.
TO BUSS  Provides a resistive feed to the Portico™ Buss mix system.
HPF  A 12 dB/octave high pass filter providing continuously variable Low Frequency
attenuation between 20 Hz and 250 Hz. The high pass filter is a valuable aid in 
any signal chain but particularly so in a microphone preamplifier. Signals  
within this band can be attenuated, leaving higher frequencies unaffected.  
Helps get rid of building rumble, air handling motor hum etc. (see fig. 1)
fig. 1: 5016 HPF min, mid, max
-28
-24
-20
-16
-12
-8
-4
-0
dBu
10 1k20 50 100 200 500
Hz
RUPERT NEVE DESIGNS

METER
An eight segment LED bar-graph meter is fitted for the mic pre, calibrated in dBu as follows:
SP, - 18dBu, - 12dBu, -6dBu,    
+4 dBu, + 10dBu, + 16dBu, +22dBu
With reference to the balanced output signal level.
The input level can be determined by reading the Meter indication, then subtracting the Gain
settings of the Sensitivity switch and the Trim control. For example, if the meter is reading + 10
dBu, with the Trim control at, say, +2 and the main Gain switch is at 42, the level of the input
signal is 10 – 42 –2 = -34 dBu.
5016 MIC PRE/DI
7
DI CONTROLS
GAIN  Controls the input level for either the DI or the LINE INPUT.
  DI: +10dB to +30dB Line Input: 0dB to +20dB
TO BUSS Provides a resistive feed to the Portico™ Buss mix system.
GND LIFT Ground Isolation Push-Button switch
If hum or "buzz" should be heard, which might be caused when a separately 
powered and grounded guitar or instrument is connected, a Push-Button on the 
front panel lifts the Portico™ 5016 D.I. internal ground rail from the TRS 
circuit to break a potential loop. Such Loops are formed when separate 
grounded utility power outlets are used, for example on the stage for mixing or 
amplifying equipment.
DI/LINE Selects the input source. DI is the TRS input on the front panel, and LINE is the
XLR line input on the back.
THRU  An output "Jack", is provided on the front panel that replicates the D.I. input
signal, appearing as an unbalanced source. This "THRU" Output may be used
to feed an external loudspeaker amplifier. (Use a T.R.S. Tip-Ring-Sleeve or a
single pole "Plug")
PHASE ADJUST A continuously variable Rotary control that provides Phase Rotation between 
  0° and approximately 170° between approximately 75 Hz and 30 kHz. The  
  level is unnaffected.

5016 MIC PRE/DI
8
The D.I. and LINE channel of the Rupert Neve Designs Portico ™ 5016
The D.I. and Line Preamplifier Channel is completely separate from the Microphone Preamplifier
Channel housed in this Portico™ 5016 half rack 1U module.
The Channels may be used separately without interaction but the real power of the 5016 lies in the
Variable Phase feature incorporated into the D.I. Channel that enables a musical Instrument to be
phase-aligned with a voice signal from the microphone input on the Microphone Channel when the
microphone and D.I. signals are later mixed.
The D.I. and LINE channel.
The D.I. Input.
With a few notable exceptions, musical instrument pickups, need to work into a very high load
impedance. Great care is needed to ensure that the connecting cable and the method of connection
does not allow introduction of interference or hum. High quality connecting Plugs should be used
(and kept clean!). The cable should be a "low noise", "low capacitance" type and, preferably, not
more than about 20’ (6 Metres) long.
For these reasons the Portico™ 5016 D.I. is fitted with a T.R.S. (Tip-Ring-Sleeve) "Jack" input on
the front panel. The input circuit is a "T.L.A.", amplified transformer configured to provide a very
high input impedance; 3 Megohms, between the Tip and Ring legs and an even higher impedance
between each leg, (Tip or Ring) and Ground. In this way, although the source (the pickup) is not
usually balanced, many of the isolation and grounding benefits of a balanced input are obtained
from the Transformer together with the sweet musical character that stems from the elimination of
those extremely low level, out-of-band distortion and noise artifacts that cannot be heard but which
can intrude subliminally into equipment that is not so uniquely protected.
Either a T.R.S. (Tip-Ring-Sleeve) or a Single Pole "Plug" may be used, depending on the pickup.
(see wiring diagram)
For historical reasons unbalanced connections have become the norm with musical instrument
pickups. Combining very high impedance with the unbalanced circuit topology constitutes a
considerable challenge to the designer who has to ensure the highest possible music signal quality
under all conditions.
The Line Input
Keyboards, Synthesizers and some low impedance Instrument Pickups generally require a much
lower load impedance. However they are often unbalanced and need less gain. Similar care is
needed to ensure that the connecting cable and the method of connection does not allow
introduction of interference or hum.
The Line Input is on the back panel, with direct connection to the balanced and floating input
transformer - no T.L.A. being necessary - the full advantage of the Portico™ Line input
Transformer is here used to the full, connection being made via a professional XLRF connector.
The Line Input should be used in balanced configuration when possible.

5016 MIC PRE/DI
9
The D.I. and LINE channel Outputs
The Output stage is identical with that of the Microphone Preamplifier Channel, driving a carefully
configured balanced and floating Output Transformer designed to safely feed long lines with up to
25 dBu.
Inter-connection of Professional equipment should always be carried out using balanced lines in
order to ensure freedom from interference and hum. A balanced line carries the "Send" and
"Return" music signals on two wires that are inside a screening outer lapped or woven "Ground"
mesh. So the Ground or Screen connection is not involved with carrying the music signal but is left
to do its job of protecting the music from outside garbage or power line currents that may be
circulating between modules or floating around a stage with powerful lighting.
Application Notes
The benefits of Variable Phase cover a number of powerful professional applications and include
"fun" effects that can add amazing treatments to the combination of sound sources.
D.I. (Direct) and a microphone signal are often combined to best capture the essence of the
instrument signal, together with that of the selected amplifier and room. However, acoustically
derived signals from a microphone can never be exactly phase-coherent when combined with
signals from a stringed instrument pickup or electronic keyboard, and these issues are only
exacerbated when the microphone is recording an amplified loudspeaker. These phase
cancellations and additions can be especially detrimental to the low end response.
Suggested Applications:
1. When using a traditional DI in combination with a microphone signal, the only option to alter
phase is to reverse the DI phase or to move the microphone to find the best possible combination
point. These methods force the engineer to take the microphone away from the "sweet spot" of the
speaker or instrument, and inches of difference in microphone position can greatly change how the
two sources combine in phase.
The Variable Phase control on the 5016 allows the direct signal to be rotated across a wide range,
enabling the microphone to be placed where it sounds best. When, in addition, Variable Phase is
combined with the Phase Reverse switch on the microphone preamp, very powerful control over
musical instrument recording is available.
2. When using Variable Phase on already recorded sources such as a snare drum mixed with
overheads, follow the same process. Patch the snare track into the XLR Line Level Input, and select
Line Input. To find the most phase coherent combination, sum the 3 signals to mono and reverse
the phase on both of the overhead channels. Adjust the Variable Phase control to rotate the phase of
the snare track until the sound of the snare drum is at it's minimum. Correct the phase on the
overhead tracks and listen to make sure the combination sounds as intended.

Mic Channel
Frequency Response:
 Main Output, no load,
    –3 dB @ 18 Hz
    –3 dB @ 160 kHz
Noise:
Measured at Main Output, unweighted, 22Hz-22kHz,
Terminated 150 Ohms.
With gain at unity  better than –100 dBu
With gain at 66 dB better than –62 dBu
Equivalent Input Noise  better than –128 dBu
High Pass Filters:
Continuously variable swept frequency from 20 Hz to 250 Hz.
Slope:   12 dB/Octave
Gain:
 Unity to +66dB in 6 dB steps,
 Trim continuously adjustable from –6dB to +6dB
Buss Output:
Output is designed to feed a Buss-mix Amplifier (ie. Buss inputs on 5043) at the
internal system level of -2.5 dBu.
Maximum Output Level:
 Maximum output from 20 Hz to 40 kHz is +24 dBu.
Mute:
 Mutes Main Output only.
Phantom Power:
 + 48 Volts DC +/- 1%
Total Harmonic Distortion and Noise:
 @ 1kHz, +20 dBu output:
 Main Output:  Better than 0.002%
 @ 20Hz, +20 dBu output:
 Main Output:  Better than 0.020%
 Silk Engaged:  Better than 0.2% Second Harmonic
Meter:
Eight segment LED.
Power requirements:
Voltage range:   9 to 18 Volts DC
Current consumption:
@ 9VDC Current is 1000 mA typical: Power = 9W
@ 12VDC Current is 800 mA typical: Power = 9.6 watts
@ 15VDC Current is 610 mA typical: Power = 9.15 watts
@ 18VDC Current is 520 mA typical: Power = 9.36 watts
Connector:  5.5mm X 2.1mm DC jack, Center Positive
5016 MIC PRE/DI
10

SPECIFICATIONS
11
Instrument / Line Channel:
DI/Line:
"DI" Selects front panel TRS, "LINE" activates rear panel XLR input.
Frequency Response:
Line input / Main Output, no load,
-3.00 dB @ 160 kHz
DI input / Thru Output: +/- 0.50 dB 10 Hz - 200 kHz
Gain:
DI selected: Continuously variable +10 dB to +30 dB (THRU out is always unity)
Line selected: Continuously variable 0 dB (unity) to +20 dB.
Maximum input level:
DI: +14 dBu
Line: +24 dBu
Input Impedance:
DI: 3 Meg Ohm
LINE: 10,000 Ohm
Total Harmonic Distortion + Noise:
Main Output, unity gain:
@ 1 kHz, +20 dBu output: Better than 0.001%
@ 40 Hz, +20 dBu output: Better than 0.020%
Variable Phase:
Rotates the phase of the DI input (or line if selected) 0 to 180 out (frequency dependant) 
at the rear XLR and Buss outputs. "THRU" jack is not affected.
DI Output (XLR):
Maximum Output from 20 Hz to 40 kHz is +24 dBu, Transformer isolated and floating.
Buss Output:
Output is designed to feed a Buss-mix amplifier (i.e. Buss inputs on the 5043 or 5014) at 
the internal system level of -2.5 dBu.
Ground Lift:
Isolates analog ground from chassis ground.

HIGH PASS
FILTER
TO BUSS
SILK
MIC
OUT
BUSS
OUT
PHASE
REVERSE MUTE
GAIN
0-66dB
INPUT
TRANSFORMER
TRIM
+/-6dB
OUTPUT
TRANSFORMER
MIC
IN
METER
BLOCK DIAGRAM
EQUALIZER
LOW/MID/HIGH
LINE
IN
12
VARI PHASE
TO BUSS
BUSS
OUT
GROUND
LIFT
INPUT
TRANSFORMER
TRIM
+10/+30dB
0 /+20dB LINE
OUTPUT
TRANSFORMER
DIRECT
IN
LINE
IN
THRU
MIC/LINE
CHANNEL PATH
DI/LINE
CHANNEL PATH
+48V