Rupert Neve Designs Portico II, Руководство по эксплуатации

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MBP Front-Panel Features
Gain
This 31-detent potentiometer provides two different functions. When used with the compressor, the Gain control acts
as standard Make-Up Gain, allowing the user to add gain to the compressed signal to match the bypassed signal level.
When used in the context of the PIIMB limiter, the Gain control allows the user to set the desired “ceiling” of their mix (in
dBu) with the “Limit” potentiometer. Once the Limit potentiometer is set to the desired maximum level, the user can
increase the Gain until the average mix level hits the desired loudness. The Gain control will drive the level of the mix
up to the set Limiter threshold, but will not exceed it.
When evaluating the quality of compression, it is vital to match the compressed signal level to the bypassed signal level.
A deviation of less than one decibel can trick the human brain into thinking that something sounds better or worse.
Utilize the “Comp In” or “Bypass All” push-button switches to match the uncompressed and compressed signal levels.
Once the levels are matched, a valid A-B comparison of the compression settings can be performed accurately.
Attack
This 31-detent potentiometer sets how quickly the compressor will attenuate to the input signal once it exceeds the set
threshold. When set to its fastest setting (20 ms), the compressor can attenuate the leading edge of a transient, like the
initial strike of a drum stick on a snare drum. By compressing the inital strike, the overall compression result will increase
the emphasis of the snare’s decay or resonance. When set to slower attack settings, the compressor will ignore most of
the initial transient and attenuate the drum’s decay instead, thereby increasing the emphasis of the drum stick hitting
the snare drum.
Release
This 31-detent potentiometer adjusts how fast the compressor will return to unity gain after the signal level crosses
below the threshold. Generally, slower release times will minimize compression artifacts, especially when combined
with slower attack times. Faster release times can be utilized to maximize apparent loudness. It is important to exercise
caution with fast release times, fast attack times, and high ratios, since combinations of these three can cause intermod-
ulation distortion, resulting in undesired compression artifacts.
S/C 125 Hz
This illuminated push-button switch engages a 125Hz 12dB/octave Sallen Key High Pass Filter into the compressor-lim-
iter side-chain. Removing low frequency information from the compressor-limiter side-chain detector can help to mini-
mize compressor pumping and over-compression of the rhythmic dynamic information that tends to reside in the lower
frequency range: kick drums, bass guitar, etc. This usually results in a smoother compression characteristic.
RMS / PEAK
This illuminated push-button switch modifies the compressor side-chain detection. The default detection response
is RMS (Root Mean Square) averaged, which better mimics the way our ears perceive loudness. PEAK mode detection
responds more directly to the incoming compressor audio signal, which can be used to prevent clipping and maximize
overall loudness.
Link
The link control sums the side-chain information from both compressor-limiter channels, enabling Channel A’s controls
as MASTER. While linked, both channels are directly controlled by Channel A’s controls, including: Comp In, Attack,
Release, RMS/Peak, Threshold, Ratio, FF/FB, Gain, Blend, Silk Mode, Silk Texture, Limiter Threshold, Sidechain Insert, and
Sidechain HPF.
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