Rupert Neve 5032-V Single Channel Mic Pre / 3 Band EQ (vertical)

Single Channel Mic Pre / 3 Band EQ (horizontal)

The Portico 5032 is a single channel Mic Pre/EQ having an independent transformer coupled Line level input for the EQ section. It includes a full-featured Mic Pre identical to the 5012 with the addition of a flexible 3 band Equalizer in the Mr. Rupert Neve tradition. The 5032 is equipped with high and low frequency shelving curves and a Parametric Mid Band covering 80Hz-8kHz in two ranges.

The Rupert Neve Designs 5032 module is a half rack width, 1.75 (1U) module in the now well-known Portico style. The 5032 is ideal for both tracking and mixing applications with selectable mic or line inputs. Both paths have full access to the EQ, phase, silk and mute making it the ideal choice for either standalone operation, or forming the core of a larger mixing system. 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 1/8-inch aluminum plate with a steel sub panel behind it.

When the vertical option is chosen, up to Eight 5032s can be mounted in the optional Vertical Frame. This leaves a 3″ wide space that can be used to house a Power Supply or monitor unit. 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 optional Vertical Frame.

The Portico 5032 module comprises a single microphone pre-amplifier identical with those found in the Portico 5012, and a new 3-band Equalizer. 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.

THE EQUALIZER

The subtleties of audio circuit design as relating to sonic performance are becoming more clearly understood by designers and professional users. For example, it is evident that frequencies above 20 kHz and incredibly small distortion and non-harmonic artifacts, affect the way that humans perceive sound. Specifications and measurements do not fully disclose these sonic qualities that are important to sound engineers and musicians. There is no substitute for hours of patient listening and experimental bench work that results in the sweet and silky sound of my classic designs.