TEST: Rupert Neve Design Portico II

 Rupert Neve Design Portico II, a device that, in addition to the current product name, contains a name that conjures up an expression on the face of almost every studio owner or operator that can vary from a subtle smile to a humble bow. The achievements that the sound engineer, born in 1926 and winner of the Lifetime Achievement Technical Grammy Award, has developed over the course of his life are just too great. He is considered THE man who developed the mixing console.

When a product is released under the name of such a legend, you automatically have expectations that are in the upper high-end range, whether you want it or not. This is also the case with the Portico II, a channel amplifier made in the USA that contains the most important components of a preamplifier such as a catch-up amplifier, equalizer and compressor. The product also has a circuitry trump card that gives the design a unique sound. More on this in the following test. By the way, Mr. Neve doesn't like the term channel strip because, in his eyes, it devalues ​​the product...

Construction

Anyone who picks up the Portico II for the first time immediately gets the feeling of high-quality equipment. The housing, which takes up 2 height units, weighs an impressive 9 kilograms, which is partly due to the very strong sheet steel and an aluminum front panel of just under 5 millimeters. The overall appearance is very classy, ​​which is further underlined by the backlit Plexiglas push buttons. All controls run evenly with a pleasant turning resistance, or rather click cleanly into their positions.

No expense is spared in terms of the quality of the components; discrete operational amplifiers, selected semiconductors and specially manufactured input and output transformers should contribute to perfect signal transmission. In addition, almost all voltage-relevant components are oversized or work with above-average headroom, which can be seen from the 36 volt power supply and the toroidal transformer, which is reminiscent of a guitar tube amplifier due to its size.

In terms of signal processing, the Rupert Neve Design Portico II was designed for both microphone and mono line signals. On the back there are two balanced microphone and line inputs in XLR format, a sidechain loop path in 6.35 millimeter jack and 2 link sockets for daisy chain connection. The housing can also be fitted with a ground lift. High-impedance signals such as a passive electric bass can be connected via a jack socket on the front of the device. The gain control allows amplification of up to +66 dB, which should really cover all incoming signals. Anything below this level will inevitably be drowned out by background noise.

The gradation is in 6 dB steps, which can be adjusted again in +/- 6 dB using a trim potentiometer above. An LED on the side monitors any peaks that may be present. The double division of the compensation amplifier allows extremely fine gradation and, if handled correctly, will get the most out of the signal. An input selector switch, phase reversal, a mute button, 48V phantom power and a thru jack socket for the Hz input complete the inventory of the first signal stage. A footstep filter, which is continuously adjustable between 20 - 250 Hz and works with a slope of 12 dB per octave, forms the first stage of signal processing. The switchable filter can also be removed from the compressor's signal path using a sidechain HPF button so that the high-energy low frequencies do not distort the compressor's operation.

Let's get to the heart of every preamplifier, the equalizer. The Rupert Neve Designs Portico II has a combination of 4 bands in total, which can be individually controlled depending on the application and can be activated or deactivated separately. Let's start with the bass, which can be adjusted by +/- 15 dB and works with 4 center frequencies (35 Hz, 60 Hz, 100 Hz, 220 Hz). In addition, the characteristics of the band can be switched between shelving or peak. This is followed by a fully parametric low-mid filter, which can also be adjusted by +/- 15 dB and works continuously between 80 Hz - 1.6 kHz and sets the quality between 0.5 - 5. The same working principle can also be found in the high-mid filter, only the frequency range is between 800 Hz - 16 kHz.

The treble control is the final part, which is identical to the bass control and sets its corner frequencies at 4.7 kHz, 6.8 kHz, 12 kHz and 25 kHz and has the same circuit features. In addition, the device has an internal de-esser, which is deactivated when the corresponding control is turned all the way to the left and can be continuously mixed into the processed signal. The subsequent compressor section has the standard parameters threshold (-30 to +20 dB), ratio (1.1:1 to ∞:1), attack (20 to 75 ms), release (100 ms to 2500 ms) and the volume equalization control (-6 to 20 dB), optionally in RMS mode (average signal analysis and smooth operation) or in peak mode (signal peaks are also analyzed).

It would be surprising, however, if Rupert Neve had only stuck to standard use of a compressor. Using a push button, you can choose between feedback mode (FB - output tap behind the VCA - vintage orientation) and feedforward mode (FF - output tap before the VCA - modern orientation). The use of a blend control, which enables a continuous mix of the original signal with the compressor signal, is also very successful. Two Portico IIs can also be connected to form a stereo setup using the link push button.

As a final stage, the Rupert Neve Design Portico II has integrated a special feature into the concept. A so-called texture control adds harmonic and inharmonic overtones to the signal and ensures a very unique shine in the signal handling. The effect portion is continuously adjustable and can be used according to personal taste. A distinction is made between the Silk and Silk+ modes, with Silk using a process that is already used in the 5012 model and Silk+ trying to emulate the circuits of a vintage Class A console.

Practice

In a neutral setting without any signal processing, the Rupert Neve Design Portico II clearly points to the lower midrange and otherwise behaves relatively free of coloration with an open basic sound. The signal used is recorded in every facet, crisp and well-defined, and the quality of the components can be felt immediately. However, real euphoria is revealed when the Silk modes are activated. Especially with vocal recordings, the signal takes on a comparatively silky shimmer, which makes the recording appear more elegant and of higher quality.

The product never falls into the trap of enriching the good too much; even with a high level of effect, the signal cannot degenerate into a farce. The focus of the technology is always on musicality, which creates a relaxed basic mood in the control room. The signal also experiences a clear improvement in Silk+ mode, but this time in the saturation in the lower midrange. Especially for authentic vintage sounds, a small movement of the corresponding control knob can generate that touch of originality that distinguishes the very good from the brilliant.

The same applies to the quality of the equalizer and compressor modules. Thanks to the large number of different configuration options, along with an excellent basic sound, the Rupert Neve Design Portico II is able to give almost any signal a good portion of quality, or catapult a mediocre signal into the top league. To avoid any misunderstandings, a pathetic signal remains a pathetic signal, and even the Portico II cannot reanimate a tonal stillbirth. But if you pay attention to your signal-technical tools, you have a product at hand with this device that knows how to manage what is available in the best possible way.
 

Conclusion

With the Rupert Neve Design Portico II you are purchasing a product that is in the absolute top league. The workmanship, components, signal quality and detailed solutions are convincing in every respect and make every movement in terms of signal flow a real pleasure. Although the selling price will limit the clientele of buyers, the professional sound engineer knows how to put the associated performance into the right context.

Top marks!

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Additional Informations:

The United Kingdom has a long and illustrious history in the realm of audio engineering, with pioneering companies that have shaped the way we listen to music and experience sound. From the early days of the phonograph to the cutting-edge advancements of modern digital audio, British audio firms have consistently demonstrated a passion for innovation and a dedication to crafting products of exceptional quality.

**The Birth of Hi-Fi: Setting the Stage for Audio Excellence**

The roots of British audio can be traced back to the late 19th century, with the invention of the phonograph by Thomas Edison and Emile Berliner. This revolutionary device, capable of recording and reproducing sound, sparked a wave of innovation in audio technology. British companies were at the forefront of this development, with firms like Columbia Graphophone Company and Gramophone Company making significant contributions.

In the post-World War II era, the concept of high-fidelity (hi-fi) sound emerged, emphasizing accurate and realistic audio reproduction. British audio companies embraced this new standard, leading the charge in developing hi-fi components that delivered exceptional sonic performance. Brands like Leak, Quad, and Radford became synonymous with hi-fi excellence, their products revered for their technical prowess and musicality.

**Pioneering Innovations: British Audio at the Forefront**

British audio firms have consistently pushed the boundaries of audio technology, introducing groundbreaking innovations that have transformed the listening experience. In the 1950s, Celestion introduced the groundbreaking T-12 loudspeaker, renowned for its wide frequency range and exceptional clarity. This marked a significant step forward in loudspeaker design, paving the way for modern high-performance speakers.

The 1960s and 1970s saw a surge of further innovations from British audio companies. KEF's groundbreaking Uni-Q driver, combining tweeter and midrange elements in a single unit, revolutionized loudspeaker design. Linn Products' iconic Sondek LP12 turntable, with its innovative spring suspension system, became a benchmark for analog playback. Meanwhile, companies like B&W and Rega continued to push the envelope with their advanced speaker designs.

**The Digital Revolution: British Audio Adapts and Thrives**

The advent of digital audio in the 1980s presented new challenges and opportunities for British audio companies. Embracing the digital revolution, British firms once again demonstrated their adaptability and innovation. Meridian Audio, a pioneer in digital audio technology, developed the world's first CD player in 1982, marking a turning point in the history of recorded music.

Cambridge Audio, Arcam, and Rotel were among the many British companies that successfully transitioned into the digital era, producing high-quality digital components that gained widespread acclaim. In recent years, British audio firms have continued to innovate in the digital realm, developing cutting-edge technologies like wireless audio streaming and high-resolution digital formats.

**A Legacy of Excellence: British Audio's Enduring Influence**

Today, British audio companies continue to hold a prominent position in the global audio landscape. Renowned for their dedication to quality, innovation, and musicality, British brands like Naim Audio, Monitor Audio, and Bowers & Wilkins are highly sought after by audiophiles worldwide. Their products consistently set benchmarks for performance and design, earning them numerous awards and accolades.

The legacy of British audio is a testament to the creativity, ingenuity, and passion of British audio engineers and manufacturers. From the early days of the phonograph to the cutting-edge advancements of modern digital audio, British audio firms have consistently shaped the way we listen to music and experience sound. Their unwavering commitment to quality and innovation ensures that British audio will continue to play a leading role in the world of sound for generations to come.

**Conclusion**

The story of British audio is a rich and inspiring tale of innovation, excellence, and a deep passion for music. From the pioneering days of hi-fi to the cutting-edge advancements of the digital era, British audio companies have consistently demonstrated their ability to push the boundaries of audio technology and deliver exceptional sonic experiences. As we look to the future of audio, it is clear that British firms will continue to play a pivotal role in shaping the way we listen to and enjoy music.