User manual NEVE 5032

[. . . ] Don't operate your PorticoTM 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. ). [. . . ] The transformer works at an approximately constant level with more predictable performance. When the Mic Gain switch and Trim controls are set to Unity (0 dB) the PorticoTM 5032 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. 3 5032 MIC PRE/EQUALIZER THE MAIN OUTPUT The output stage is identical with that of the PorticoTM 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 PorticoTM 5032 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 PorticoTM 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. RUPERT NEVE DESIGNS HIGH SHELF 8kHz 16kHz -15 dB +15 0 80 x10 Hz 800 MID 0 PEAK -15 dB +15 Q 160Hz LOW 0 SHELF EQ IN -15 SILK dB +15 INPUT SELECT LINE HPF TRIM 0 -2 +2 20 Hz 250 TO BUSS -6 22 16 10 4 -6 -12 -18 dB +6 MUTE 30 24 18 12 6 36 42 48 54 60 66 -30 MIC GAIN +48V 0dB Portico Series The 5032 MIC PRE EQ However, the output of any PorticoTM 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 unbalanced and high impedance, and the BUSS connection is derived pre-mute. It is intended for use with future modules in the PorticoTM range which will be equipped with a matching MIX or BUSS input. The PorticoTM 5032 BUSS output has dual, paralleled, TRS connectors that allow any number of PorticoTM modules to be mixed to the BUSS input on any of these appropriate modules using a standard TRS patch cord. When multiple PorticoTM 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 will be available in the future on the Rupert Neve Designs website at www. rupertneve. com. 4 5032 MIC PRE/EQUALIZER 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. Thus microphones were not heavily loaded. Condenser microphones worked off high voltage supplies 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. [. . . ] it provides continuity from 800 Hz to 8. 0 kHz). RUPERT NEVE DESIGNS +20 +18 +16 +14 +12 +10 +8 +6 +4 +2 dBu -0 -2 -4 -6 -8 -10 -12 -14 -16 -18 -20 20 50 100 200 500 Hz 1k 2k 5k 10k 20k 5032 Mid EQ: 80Hz- 8kHz range, min, mid, max Q's METER An eight segment LED bar-graph meter is fitted for each channel, calibrated in dBu as follows: - 30 dBu, - 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. 10 SPECIFICATIONS Frequency Response: Main Output, no load, ­0. 2 dB @ 10 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. [. . . ]